The Ma ic

Rainbow
 JU N TAMARIZ

Translated from the Spanish by

RAFAEL BENATAR

Spanish edition edited by

GEMA NAVARRO

Revision of Spanish contents by

CARLOS VINUESA

First Spanish revision by

JESUS ETCHEVERRY

English edition edited by

STEPHEN MINCH

_lt__
HERMETIC PRESS
Photo: David Linsell
 CONTENTS

Inner Worlds (Rafael Benatar) ix

Foreword xiii
Thanks
Acknowledgments xvii
Preparation of this volume was aided by the proofreading
skills of Mike Henkel, Martin Kaplan, Maxwell Pritchard, CHAPTER 1: MAGIC 1
Will Randall and Mike Vance. The following pages show the Magic 3
benefits of their generosity and their devotion to our Magia. What Is Magic? 3
Magic-A Minimal (and Inexorably Failed) Attempt to Approach
a Definition and a Delimitation 7
The Emotion-Miracle 9
An Attempt to Comprehend the Magic Miracle 9
Notes Toward a Theory of Emotion in Magic-Pursuing Our Goal 13
Origins and Evolution 19
Magic and Art 19
On the Essence of the Art of Magic 23
Some Provoking Questions (Also Self_-Provoking) 25
Magic as Art and Magic as Show 26
The Material: Dreams 29
Dreams of Magic 29
Dream, Magic, Reality 32
Spanish edition copyright© 2016 by Juan Tamariz.
Magic in Movies, Theater, Television ( and Close-up Magic) 35
English edition copyright© 2019 by Juan Tamariz and
Magic and Surrealism 39
Penguin Magic, Inc.
To Whom Is It Addressed? 43
All rights reserved under International and Pan-American Copyright 43
Magic Is Only for Children
Convention~. Published in the United States of America by Penguin
Magic, Inc., Rancho f~ordova, California. CHAPTER 2: How Is IT PRODUCED? 47
Printed in the United States of America. How Is It Produced? 49
ISBN 978-0-945296-90-4 The Process of Creation and Interpretation in Magic 49

FIRST EDITION CHAPTER 3: THE MAGICAL EFFECT AND ITS SIGNIFICANCE 59

The Magical Effect 61
10 9 8 7 6 5 4 3 2 1 How Should It Be? 61
 Classic Effects 65 conflicts in Magic and Their CuIVes of Interest 239
What Are They? Which Ones Are They? Why Are They Classics? 65 The Curves of Interest: Notions to Remember 239
Symbols 71 Magic: 'I\vo Conflicts 242
Magic and Symbolism 71 The Logical-Rational Conflict-Climax without Reso~ution 242
Example of a Practical Application of the Theory of Symbolic Magic 85 The Magic Conflict and Its Dramatization 254
The Magic of the Spheres 85 Time 285
A Study of a Truly Magical Effect: "El Cochecito" 92 Rhythm 285
More About Effect 97 The Time of the ,Performance 303
The Fascinating Effect 97 The Beloved Art of the Pause 310
The Effect and the Secret Method (A Love Story) 102 Timing 328
Variety in Effects 105 Patter 339
That Effect, in Effect, with Affection 109 Patter (A First Approach) 339
More About Patter (Second Approach) 347
CHAPTER 4: MAGIC AND MEMORY 113
Introduction 115 CHAPTER 6: THE SECRETS 355
The Memory. Generalities 116 The Seven Magic Veils 357
Card to Order 120 On Magic Energy: A Minimal and Impossible Attempt at an Unveiling 363

Encoding What Is Perceived 127 The Little Monkeys 365

Features 127 A Beautiful Profession of Love 369
Storage of the Memories 139
CHAPTER 7: THE MAGIC PYRAMID 375
A Preliminary Digression 139
The Magic Pyramid 377
Altered Permanence 142
Evoking Memories 147 CHAPTER 8: STYLES IN MAGIC 395
The Comet Effect 147 From the Inside 397
Other Factors That Improve Memories 158 Impromptu Magic 397
The Magic of Accessories 403
CHAPTER 5: DRAMATURGY 185 From the Outside 407
Emotions 187 Magic and Comedy 407
Kind of an Introduction 187 Some Laws of Laughter 409
A Human Analogy 190 Various Positive Combinations of Magic and Comedy 419
Analysis of the Emotions in Magic 197 Other Pairings 424
The Emotional Scheme 223 Manipulation 447
About the Variety of Emotions: .A.n Example 225 Mental Magic 450
CHAPTER 9: ABOUT THE CONSTRUCTION OF THE SESSION 457
About the Construction of the Session 459

CHAPTER 10: CREATING ILLUSION 485

To Create Illusion 487
Technique in Service to the Effect 487
About ... the Art of Technique 490
In Order Not To Disappoint 495
Outs and Resources-The Art of Fixing Mistakes in Magic 495

CHAPTER 11: CONFESSIONS 501

About the Author: Highly Personal Comments 503
About the Preparation of the Session

Chapter 12: NOSTALGIA

The Spectator Facing Magic
The Spectator on the Other Side of Magic
511

515
517
521
II lNNER WORLDS
Rafael Bena tar

APPENDIX 1: MAGIC AND OTHER ARTS (NOTES)

Magic and Magical Narration
525
527
II TiiROUGHOUT my thirty years of friendship with Juan, I have witnessed,
from a privileged seat, the development of his magical thinking. He usually
Myths of Creation, Gods and Heroes, Fairy Tales 527 I put his thoughts in writing for the exclusive Circular of the Escuela Magica
I de Madrid, and he has shared them since 1974 at the J omadas Cartomagicas
Magic and Film 531 I
;~
:t,
Magic and Drama del Escorial, of which he has, from the beginning, been the main force.

''i
535 ··~
Magic and Music 539 1\ Expressing his thoughts to friends and checking them with acquain-
i
Magic and Painting 543 ti
tances and spectators is another way he refines his thinking. He_ enjoys
J,
meeting with fellow magicians and sharing ideas, whether when dining
i
APPENDIX 2: TRICKS, SYMBOLS AND MYTHS
Background (A Brief Personal Story)
549
551
it
j
.
out or d,,uring late-night sessions that can last until breakfast, at which
time he might dish up his superb fried eggs.
f
Some Phenomena of Card Magic 555 Juan seems to organize his life instinctively to allow himself to spend the
Some Classic Tricks of Card Magic

APPENDIX 3: HIDDEN WISHES

561

571
-
'i
I
I
majority of his time on the most substantial aspects of magic. He cuts out
any trivialities, as well as many common tasks and celebrity appearances.
Human Wishes 573 I As a result, he spends a high percentage of his time sitting at a table with a

I
Wish List of Mankind 575 deck of cards, working on card magic. He extends his passion to all aspects
Wishes and Their Corresponding Tricks 581 of magic in general and expands it to his enjoyment of allied arts; mainly
film, music, literature and painting. All that experience is poured, both
-~

'If'
N
consciously and subconsciously, into sleights and moves, and into all the
principles of stagecraft, body language, scripting and construction, striving
to reach the deepest philosophical as well as symbolic, meanings of things.
When out for dinner, as he is an icon in Spain, he is approached by
people of all ages who want to shake his hand, request his autograph, see
a trick or have any reason to be near him and exchange a few words. He
usually complies gracefully. Most people are kind and pleasant, and some
say something funny or something interesting to the rest of us. Yet, once
they are gone, Juan subtly refuses to be distracted by such incidents. Our
conversation promptly resumes as if nothing had happened, like a film edi-
tor's cut. He doesn't let anything throw him off his cherished conversation.
Maybe there has been a show or a late dinner made longer with magi-
cal moments, until the tolerant restaurant owner gives us a hint, or more
than a hint, that the staff needs to go home. After leaving, when the night
would seem to be over, a few friends will sometimes accompany Juan to
his home-and then the visit starts, at 1:00 or 2:00 A.M. But people don't sit
back on the couch with a drink and talk; not at Juan's. He has cleverly set
the scene, with the help of his beloved wife Consuelo (also a magician), to
lead you smoothly to a table graced with a few close-up mats and chairs.
Everyone is positioned for a productive session. And Juan always has an
amazing number of new things to show, fresh even to those who sat at a
similar session as recently as a week before.
A restless thinker, Juan is always looking for the meaning of things, for
the most profound reasons for artistic things to exist. But he doesn't stop
there. He investigates all aspects of the performing arts, always nurturing
his thinking with a variety of arts and crafts, and exploring the mysteries
of the art of communication, of reaching an audience, one of his favorite
topics of conversation. '
When discussing that topic throughout this book, Juan often refers
to the artist's inner world. He sees this as one of the most important ele-
ments in communication with an audience. That's one of the true secrets
of his success: not being afraid of being sincere, of showing who he really
is. He holds nothing back
As we saw in the introductory pages of The Magic Way, he some-
times uses metaphorical images of winged horses flying through the
universe in search of The Magic Way. Such images are not always easy
to understand, let alone to translate. Juan had concerns tpat some read-
ers might not connect with this poetic imagery. He told me it is okay
with him if you prefer to skip those parts. I confess, I have occasionally
become lost in following the logic in some of his stories 1 as has the edi-
tor and perhaps some readers-but I'm glad he didn't omit them. Who
has not become lost in a Dali or a Bosch painting? Those words are
the reflection of Juan's dreams, and dreams have elusive elements. So if
you're not interested in such symbolic imagery, it's okay with Juan; but
I suggest you read through it anyway, if for nothing more than to experi-
ence the depth of his passion.
The text as a whole is admittedly opinionated, but those opinions have
grown out of many years of experience and many thousands of perfor-
mances for audiences, for friends, for television and for people from all
walks of life.
In all this, Juan has practiced what he preaches: Throughout this entire
, book, he reaches us by showing us his inner world-all the magical things
he really cares about, everything that occupies a substantial portion of his
thinking time, all he has learned from others, from watching others and
from reading. He opens the doors of his inner world for us. That's also
the secret of how he engages and holds our attention throughout what
appears a very long text. If you don't agree with something, I'm sure Juan
predicted as much and even finds it desirable. In that case, though, he
raise~· the issues for your consideration.
What really matters is that you have here a rare opportunity of looking
with a magnifying lens into the mind of a genius, who allows your inspec-
tion and invites you to do so. He hangs it all out in these pages, just about
everything he thinks, every opinion, everything he has mentioned in con-
versations over the years, everything he has learned, although it's easy to
imagine that the process goes on forever.
~
xii

Working with my good friend Stephen Minch has always been an enrich-
ing experience. I cannot imagine a better editor with whom to collaborate.
In this case, we faced a major challenge together. It is also a mammoth
project made possible by the commitment of Penguin Magic, to whose
support and confidence in the project we should all be grateful.
Stephen has spared no effort in pointing out anything that is unclear
or ambiguous, and we have exchanged many hundreds of questions, in
both directions. Some ambiguities were instantly resolved by my acquain-
tance with Juan's thinking and my many conversations with him through
the years. I have occasionally needed to consult with my friend Camilo
Vazquez, who has known Juan much longer than I have. Camilo is a
co-founder with Juan of the Escuela Magica de Madrid and has provided
invaluable insight. We then ran even the slightest doubts that remained by
Juan to get his input and blessing. FOREWORD
With our editorial decisions, maybe Stephen and I are also sharing
something of our inner worlds, in a quest for keeping Juan's voice-collo- J WAS seven years old. The sun ofEgyptilluminatedmypath. The Phoenicians
quial, engaging, humorous-as we have on previous occasions. carried me toward the confluence of the two seas, from the sea within the
A good portion of this material was originally written for the limited earth to the mythical ocean, land of the Atlanteans. It rained all the way
membership of the Escuela Magica de Madrid and published using a simple through the journey, and the sun and the rain formed their exciting Rainbow.
method of distribution. For this group, there was little need for referencing After dark, the beautiful moon, protected (as was magic) by Isis, mag-
each trick or article mentioned. Stephen has, when needed, checked and netized the gazes of all sailors and formed-oh, miracle!-a mysterious
researched references; and during the process, I asked Juan some questions and exciting night rainbow.
about his sources. In certain cases, he supplied additional information, The newly founded city of Gades (now Cadiz) was dedicated to Isis
which we have added to the text, (now Astarte), goddess of the moon and of magic (only 3000 years ago).
Now that the work is over, the relief is fading away and I am beginning And that's where, on that night, at the age of seven, I stayed awake and
'>
to miss the exchanges with these men I am proud to call my friends. followed the hypnotic phases of the moon, and I traveled The Magic Way
under the night rainbow to find the wonderful palace-castle, castle-palace
of magic.
I sneaked through the slit under the back door-Father Ciur6 offered
his books to show me the way-and I discovered the fabulous world
of parlors and drawing rooms in the castle, which was looked after by
Mnemosyne (four clubs and nine diamonds embroidered into her man-
tle) and her nine daughters, the nine Muses. And there on the floor, other
 :xv

children-in groups of seven, fifty-two and a hundred-played with cards,
balls, white doves and their pretty, lacquered, wooden boxes.
The three fathers (Robert-Houdin, Hofzinser and Frakson) were in
charge of, and inspired, the games that the oldest son (Dai Vernon) orga-
The moon of Isis blinded me and guided me. The sun of Gades warmed
me and' made me drunk with passion. T_he rain that descended from the
sky and ascended from the sea refreshed me. The night-and-day Rainbow,
that was formed among all this, made me marvel.
I

nized, while nephew Ascanio walked the parlors and analyzed their rules
with passion.
I often came out, with some of the other children in the enchanted pal-
ace, to invite along children and adults of nearby fields and distant towns.
With some of the group made up by the playful and curious, we dis-
It makes me marvel and will still make me marvel in the s~venty-times-
seven coming years; and I hope to find you, dear reader who is holding me
in your hands, in our palace-castle-house of magic.
In our home.
THE MAGIC RAINBOW.

covered doors and spaces, some empty, others full of signals waiting to
be deciphered for the enjoyment of new and beautiful ways to play with
cards, balls and little boxes.
It was Paradise.

I have spent my whole life visiting this castle-palace. I live in it.

~

Here I tell you what I saw there and felt and feel and will feel, and what
the beauties of the parlors that "lazy chance or the precise laws that rule
this dream, the Universe" (Borges dixit) made me discover, with which I
was able to begin a playful exploration and passionate journey.
The castle-palace palace-castle still possesses unknown comers,
secret doors and hidden passages that lead to new and fantastic halls and
gardens strewn with minerals of wonderful colors (the seven colors of the
rainbow). In it, the charming Muses guide us and, while two sing and play
their harps, the other seven dance and extend their translucent veils that
cover, or allow, a faint glimpse of hidden spaces and gardens with their
beautiful and delicate decorations.
At times, during these last forty years (the number of cards in the
Spanish deck) I have taken a break and written on papyrus with my sweet
diabetic blood what I gradually saw, enjoyed and felt in the castle, and
what my little and maybe (but only maybe) interesting discoveries told me
and taught me how to feel and enjoy. Here you have them at this moment
in your hands in the shape of a magical book (what a redundancy!).
 ACKNOWLEDGMENTS

Tii.1s book is little more than a mosaic made of articles and essays I've
written throughout a period of almost forty years. It is also a mosaic
because of the quantity and quality of people who have invested their
-~ffort, knowledge and care to help to polish my thoughts (Jose Puchol,
Roberto Giobbi, "Alan" [Alfredo Marchese] and my daughter Super Ana,
to whom magic in Spain owes so much); and those who transferred my
always handwritten texts, the early ones through a typewriter (Mary Pura
Mirelis, who gave me so much) and later ones into a computer (Alicia my
magical daughter, Pedro Hernandez and my companion and support in
life and magic, Consuelo Lorgia); and those who made precise and pains-
taking t~xt corrections (Carlos Vinuesa, Jesus Etcheverry and, above all,
Gema Navarro, who has also been the continuous engine that typeset and
carried out the almost eternal editing of the Spanish edition).
To all of them goes my total and heartfelt gratitude, which I realize can
be only scantly expressed in these lines, when I consider the magnitude
and quality of the effort, the patience, the dedication and the passion they
have poured into it.
Thank you! Thank you!! Thank you!!!
 MAGlC

What Is Magic?
In the beginning, it was magic.

/2PROXIMATELY 52,000 years ago, a man and a woman emerged from

' a group that was sitting there, on the floor of the cave, next to the fire.
Dressed and made up, the man and the woman moved their bodies rhyth-
mically, let out shouts that increased in speed and shrillness and, with
their sooty hands, made drawings on the cave walls; they picked up mud,
still moist, wrapped it in a large tree leaf and, molding it with t};leir fingers,
fashioned a head; then they picked up stones and placed some on top of
othe:a;s to build a primitive altar in front of which they imitated the growl
of the lion and the bear, and ran after one another; they related something
about a legendary man who, with only his hands, caught the bear and
killed the lion; they simulated the rain with their fingers and imitated the
zigzag flash of a lightning bolt. The man in the cave threw his pine-branch
wand into the air and deftly caught it behind his back, showed his dry hand
and suddenly it was moist; the imaginary lightning bolt burnt his hand
and, upon his passing the pine wand near it, the red bum disappeared.
N 5
The expressions on the faces in the group changed from astonishment to
fear; they huddled together. The man and the woman pointed toward the
sky outside the cave and fell to the ground, exhausted by the frenzy of
the dance. Those in the group shouted and beat their open hands against
their bodies for a long while, after which they too were exhausted and fell
asleep on the ground.
And some dreamed ...
They dreamed that approximately 52,000 years later, what they had
started there, that night in that cave, would be called dance, music, ballet,
singing, theater, sculpture, painting, religion, medicine and magic.
The man's magic of that night was now art (and science and religion)
as well as magic-the magic that spoke of and imitated the power of the
gods, of rites and myths, of desire and dreams, in an ancient, universal and
profound symbolic language.
A young man woke up about 52,000 years after this and met Vernon
and Slydini, saw Lavand and Frakson, visited Fu Manchu and Ascanio,
communicated with Robert-Houdin and Hofzinser through the written
word, saw in a little magic box how Copperfield flew and how Doug
Henning went back to childhood. He played with the ghosts of Leipzig and
Malini, read the Tarbell Course and Stars of Magic, got together with Juan
Anton, Alfredo Florensa, Jose Puchol and Ramon Varela at the Sociedad
Espanola de Ilusionismo (Spain's main magic society), admired Chung
Ling Soo's posters, enjoyed the effects of Fred Kaps, felt the emotion of
the impossible when a pocket knife changed color, a sponge ball disap-
peared (dis-a-ppeared!) and cards separated into blacks and reds.
And he was not the only one who woke up. Others attending that initia-
tory evening in the cave awakened thousands of years later and were able
to see the magicians of the time, and revive the emotions that combined
to tickle the inner layer of their saurian brains, to arouse the profound
sensations of their mammalian brains and the astonishing intellectual
admiration of their external hominid brains, of thinking beings. In a sec-
ond, they felt the arcane power of myth again; the ancestral horror vacui
of disappearance; the horror of death and the victory of resurrection (the
thread from which their life hung was cut and subsequently restored); the
joyful feeling of levitation, the flow, the rising to the heavens; and finally
their three brains-saurian, mammalian, hominid-softened and melded
into one. They felt like children and were able to play.
To play the artistic game, useless and extremely beautiful, with life
and death, the power of the gods; and miracles: card divinations, invisible
travelers, single and multiple changes, here and there, to be or not to be
in a single moment.
And the irradiated playful and positive energy became love: They met
Frakson.
Some among those who awoke approximately 52,000 years later exer-
cise their voices in singing, their bodies in dance, their speech in theater
and storytelling, their words in poetry, novels and tales, their fingers on the
piano keyboard, their steady hands with the brush and the palette knife,
their gestures in pantomime. And some among some, not many among so
many, exercised at one and the same time their fingers, their gestures, their
words, their chatting, their bodies (forward and back, tum, relaxation and
tension ... ), their gazes crossing with their hands, their hands coordinat-
. ing with their words, their voices and even their psychology; all to create
and perform their extremely beautiful and difficult tricks with four Aces,
with ten thimbles, with an Okito Floating Ball, with doves created from
nothing, inexhaustible coins and their triumphs, and the Triumphs of their
astonishing card magic.
An extremely complex art that demands control of fingers, hands,
body, voice, eyes, words and psychology; an extremely beautiful art that
speaks of myths and symbols (with the depth of play!), that enchants and
haunts and fascinates and excites every layer of the brain, that brings
us headfirst into mystery, that speaks to us of desired dreams-that imi-
tates, not the human being as does theater, not the interior rhythm as
does music, not the trill of birds as does singing, not nature (landscapes,
people, sensations) as do painting and sculpture, not dreams as do mov-
ies. Instead it imitates the power of the gods (no less): the fascinating
total art of magic.
 That's why it reaches everyone. Its universal language touches chil-
dren (who don't question its veracity) and adults (who are aware of its
unreal reality); the educated (who appreciate its complexity and depth),
the ignorant (who feel its power), the young (who delve into the adven-
ture of the unknown and mystery), the old (who take joy in their new
childhood); to men and women, foolish and wise, intellectuals, artists,
scientists and merchants, strippers, aristocrats and lawyers and tramps
and ... and ... and ...
All of them, all, can feel its power, the call to their inspiration, to their
intellectual freedom (first challenged, then surrendered), to their desire
for play, to that beautiful and enchanting art of the impossible, of imitating
the actions of the gods that will continue for a long time to enchant and
poetically to bring back to childhood all those who fall prey to its games
and dreams, its mythical effects, its spells and rituals-its magic.
And this for at least another 52,000 years, approximately.
And we, the magicians, the magicians, will transmit it.
Magic-A Minimal ( and
· to Approach a Definition_ and a Delimitation
What is it?
I
Magic is one of the performing arts that represents at a simbolic level,
through rites and spells, our myths: the archetypal desires and dreams of
man. It makes those myths come true (or poses them as r,eality), makes
the impossible possible (the impossible for humans). Thusjt imitates the
gods or superhuman beings.
Magic utilizes an artistic approach with a highly complex technique of
fingers, body, eyes, words, etc., which is kept concealed while beguiling
the senses and the mind through the psychology of perception, attention
and memory. It is based on dramatic structure-exposition, rising action,
climax, resolution-but without resolution in the usual sense, but rather
a resolution/solution such as: The magician has supernatural powers or
conjures up those powers.
It is addressed, in terms of a fascinating effect, to the inner child
of pre-logical age. The young receive it as the adventure of encoun-
tering an emotional mystery, and the logical adult as an impossible
" effect experienced as possible. It first challenges and defies the Bull
of Logic. It provokes it, teases it; then fools it, mesmerizes it and puts
it to sleep. Finally it plays with the Winged Horse of Imagination, fan-
tasy and enchantment, employing metaphorical and surrealistic poetry
(the key?). It charms the Horse, makes it enjoy its flight, letE? it live its
dreams, projected in the power of the magician, invites it to participate,
transforms it from a spectator into an "expect-ator". And it plays and
dances with them, the Horse and the Bull. The Bull of Logic bellows,
from beyond, its belief: "It's not possible." But now to no avail, because
the expect-ator is in awe at witnessing and living the impossible. He
plays and enjoys in freedom, pleased with his condition of being a god,
or being one who shares experiences with a god.
Magic mixes mystery with fascination, reality with dreams (impossi-
ble dreams made possible within the artistic reality). It mixes surrealistic
N

and poetic games, spells and enchantments dramagical 1 emotions secu-

' '
lar miracles and wonders without end.
It's magic.
And then comes the awakening of the Logical Bull. And the peace of mind,
the rest, the serenity granted the owner of the beautiful and human power of
reason. Lucidity is recovered through the lmowledge of ignoring the how but
not the natural and artistic foundation of what has been experienced.
The expect-ator now feels more complete, more lucid, richer, a bet-
ter person.
And no one can take that from him!
I. Dramagic is a word I owe to my friend, magician and great connoisseur,
Armando de Miguel.

THE EMOTlON-MlRACLE

An Attempt to Comprehend the Magic Miracle

MAGIC is fascination. Magic is the art of enchantment. It's wrapping the

audience and the magician in a cloud, a mesmerizing atmosphere, like the
' sibyls with their sulfurous fumes. It's not about putting into the known
as real something that is not so real, but about creating an enclosure, a
temporary space, where the real has another dimension. And that enclo-
sure should feel, even physically, like a cloud or like a stage filled with
smoke, as if the energy surrounding the magician became ectoplasmic
and were gradually expanding to reach the onlookers. Yet you can breathe
and allow
,,,,, yourself to be invaded by the cloud; or you can cover your nose
and mouth with your hand, with a handkerchief or with an anti-magic
mask. You can even stop breathing. That's the shortest route to settle into
the anti-life. Because magic should be, and is, life. Love for life, passion
for life, despite everything and against that everything.
Life, more life; a more and more powerful life; a vital magical energy
that exudes through the pores of the skin, the hands and the fingers, that
spills out of the eyes and mouth of the magician .... Such an inner, intense
N
energy, so concentrated that E = mc2 seems to be a black alchemical for-
mula opposed to M = al 2: Magic= abracadabra times life squared.
Captivating magic, fascinating magic, not numbing but invigorating, the
magic of enchantment and spells. Magic that transports us to a more real
here and now. An enclosure for living and dreaming. For dreaming our life.
For living our dreams. Where Descartes either regenerates or dies, where
the emporium of reason becomes the Arcadia of communes, and feelings
and emotions are set free; where tight lips relax and open in a mix of wows
and smiles, where the body levitates, floats and spins, where gravity (real-
ity) disappears, magic pushes, minimizes and finally cancels the formerly
almighty force of gravity, that power which pulls our feet toward reality. No
more with our feet on the ground. No more of the almighty and universal law
of gravity. Or Newton and his dreams, or Einstein and his love of mystery. A
meeting with Breton, with the best of Freud, with Magritte and Bosch.
But what is the image of the new reality? Let's visualize the phenome-
non, describing it minutely, just as it takes place.
In the beginning were the Words "Hocus Pocus" and the Playing Cards.
Fed up with wisdom, they start their games and daydreaming among the
magician's skillful fingers. Their eyes open wide and wider. Their feet
begin to rise from the floor.
Feet up! This is a holdup waged against stability, against the estab-
lished. A laborious and slow levitation of the magician's body. He rises,
clinging to a deck of cards. All the fluids in his body begin to pour from his
eyes, nose and ears. The blood, first red, turns green. Then, uncontrolla""
bly, lymph, urine, plasma and semen. The liquids, free of tension, become
red vapors, purple vapors, white vapors. They dissolve the rigidity of the
bones, allowi~g the magician to bend without twisting. Eventually they
tear off his limbs. ThesR vapors reach those who attend the magical trans-
formation, if they don't escape and this magma with a softened body and
1
ethereal fluids helps them untighten, untie, free themselves.
And what about the mind? This way.... Is it possible? Between anxiety
and admiration, the mind still doubts. But it finds itself wrapped in the
magician's cape .... Is it possible? The question turns soft and enters the
labyrinths of the brain in search of a comfortable answer.... It is possible?
The •only possible answer has already arrived. The mind also dissolves.
There is no longer an It is possible or It is impossible. No, it simply is.
The magician, more familiar with the road, guides and conducts. His
hands, separated, fly and come to rest on the floating hea~s of others.
And something new is· produced: The hands penetrat~ the heads. This
seems to be the signal for the humid, hot and shapeless a,nns, feet, breasts
and thighs to cross and intertwine and melt into new and fantastic limbs
taking whimsicalBhapes (a hazard): a heart with fingers, a stomach with
lips, penises with eyes.
The combinations of forms, colors and smells are continuous and ever
changing. The kaleidoscope constantly turns. There is no more fixture, no
more calm, no more tightness, no more ties. The nervous system grows
like a vine and vibrates and makes all around it vibrate, mixing sensa-
tions: red smells, sweet-and-sour sounds, touch in B#, peppermint visions.
Memory overflows all remembrances, those we would like to know· and
ones that are censored, those of the recent past and those of the warm
maternal breast. Imagination loses its fear, mixing with memory, and pro-
duces the memories of as long ago as once upon a time, of years past and
days ahead, of centuries ago-now I remember-and of centuries in the
future. Now I remember what will happen.
Playing cards provide the music. They are the fish that inhabit this sea
of magic. They are those who-blushing and transforming themselves, dis-
appearing and reappearing, becoming larger and smaller, by themselves,
in a fan, in a ribbon, or forming butterflies, rising from the pack, sneak-
ing into cases, pockets, bags and wallets, calling to the colors, playing
•';
princesses and cannibals, creeping up sleeves, turning over triumphantly,
tearing and restoring themselves, dissolving into oil and water-keep this
magical universe alive.
Then, at the end, the end of only a phase, fluids evaporate, limbs come
together, some intermingled with others, enriched with new powers,
disguised as normal to survive to the next session, until the next, and
hopefully near, magical space-time enclosure arrives.
 at the limit, at the ultimate climax, lies a continuous field without Magic-
Notes Toward a Theory of Emotion
distances or cracks, without borders or clocks, a universe of hazard, of Pursuing Our Goal
joy, of emotion, of feelings, of games, of imagination, of pleasure and life.
And that's where we are heading .... The Secular Miracle
Are you coming, Alice? more emotion there is in the magic, the stronger the magic is.
Emotion can be, at times, intellectual. But only at times . ~ The enigma
of How did that happen, of It seems impossible andJ can't.figure out how
is a good thing, but ....
Emotion may also be aesthetic, but then only as companion to the
main or essential emotion.
The essential emotion that is specific to magic is the emotion of mystery.
The emotion of mystery is what is felt when we confront the unknown,
the unfathomed, the enigmatic, the unfathomable or the impossible.
Perhaps these are the degrees or various notes creating the scale of the
emotion of mystery, from a puzzle to sawing a woman in half, passing
through the How did he manage to bring the selected card to the top, the
Where did the ball come from or the How can that ball.float in the air.
However, all these are in themselves,· for now, intellectual emotions;
tpe head, the brain, crumples, the mind is in tension; it searches, it is sur-
prised at the unfathomable, at the not possible ... and that applies to-and
is specific to-magic. Our first efforts are directed toward boosting that
intellectual emotion of mystery to the maximum, to the limit, to achieve a
mental shock, a headfirst collision with the totally impossible.
Although that purity of the emotion of mystery, attained only at the
maximum degree, is very challenging and rarely achieved, when reached
it shoul<i be strong enough to have the same impact as a miracle for the
believers of any religion. We could be talking of secular miracles.
That purity and maximum power of a secular miracle is strong
enough-or it should be-to represent a whack on the spectator's head,
leaving him stunned, dizzy, making his common sense wobble, making
him rub his eyes, making him think he's dreaming, causing him not to
believe himself, his senses, his logic, his mental structures .... He's wit-
nessing something that can't be. A magical effect is, at first, unsettling.
 Magic is in a certain way, and only in a certain way, a mental bout in
which the contenders are, on one side, the spectator's logic and reason,
and on the other, his fantasy and imagination, aided by the magician in
cooperation with him. It's a gentle bout, with no harm. It's about the magi-
cian and the spectator's imagination overcoming or convincing his reason
to take a break and let his playful, cheerful and imaginative side play joy-
fully and freely. 2
However, the intellectual emotion of mystery can be strengthened by
the sensitive emotion of mystery. That's the magical atmosphere. It's the
sensation that something abnormal or out of the ordinary happens or is
happening, despite the belief that it can't happen.
I know that a dead man can't rise up at night in the cemetery and do
me harm. I know it. I'm positively sure of it intellectually, but emotionally
it's another matter. I feel fear. I physically feel it. A simple leaf falling from
a tree onto my face can startle me, make me yell, frighten me, horrify me ...
in fear of something I don't believe possible, of something I know for a
fact cannot be possible.
Can we, through magic, make people who don't believe the impossible
possible-people with solid Cartesian minds who know that that can't
possibly be-feel the impossible?
When I come out of the cemetery, I might not know what it was that
touched my face. Was it a bird? A leaf? A piece of paper carried by the
wind? Or was it, perhaps, a deception of my sense of touch? Did I believe
I felt something that didn't exist? Did my daring imagination play a sick
joke onme?
In any case, later, at home, in the daylight, I smile as I remember it,
perhaps aided by my logic (I know it couldn't have been a dead man), but
2. However, fair play should not admit low blows. Stooges and marked cards are
low blows, because the spectator, aware of their existence, doesn't protect him-
self against them. Those are implicit rules of the game. The spectator is aware
that someone could be a stooge or that the cards may be marked, in which
case there would be no mystery, but he takes our artistic honesty for granted
and trusts us in believing such low ruses are not in operation. He believes us.
the chill down my spine and the goosebumps. The emotional
also remembers.
Such should be the case with magic. But the dead play with an edge. 0
I have it all within me, regarding death. The horror stories, 1the fears and
anxieties our culture has woven, filling us with them, are vtry strong and
the firm belief that the ·dead are truly dead. I
The cemetery and the night. An appropriate atmosphere. It's hard to
achieve the same atmosphere in a theater, but it is achieved in the movies.
A cold atmosphere? No, but we do feel horror in good horror movies.
But it also suffices to listen to tales of the afterlife told by people who
believe in them, as happens with the "cantos de meigas y aparecidos"
(stories of witches and apparitions) told in Galician villages on winter
nights; stories about something we don't believe in, told to make us feel
disturbing fears ( and how!).
The magician needs to create his own magical atmosphere with music,
lights and shadows, colors; but, above all, with his performance. What he
says, the sound of the words, the gestures, his general attitude, his pace,
should all lead to the creation of the magical field required to embrace the
spectators and make them readily feelthe ineffable, the unsettling, the
, beautiful, fascinating and wonderful emotion of mystery.
2. The Desired Goal
We are already on our way to achieving the dual magical emotion of the
intellect and the senses. A magic field has been created, and it involves
the spectators.
But only the spectators?
The magician is also absorbed into this magnetic field, and he will also
suffer its consequences or, rather, enjoy them.
But how long does the field live (or last)? It has begun, but when does
it end?
Let's remember: The Sorcerer's Apprentice unleashed certain pow-
ers that later escaped his control. We are sorcerers' apprentices. When
the magician, with art, sincerity and soul, has managed to achieve the
N
essential atmosphere of mystery, he will have generated a cloud of glitter-
ing magical powders.
This brilliant and beautiful cloud, shimmering between visible and
invisible, floats and embraces us. And it is a lasting embrace.
Because the magician, as midwife of the cloud, must have, from this
point on, two certainties:
The :first is that he is also inside the cloud, within its atmosphere,
inside its field. From this point on, there is no more I do (performer) and
We watch (spectators); the me here and you there is over. Now we, com-
municants of the dual magical emotion, have embarked upon the same
magical, vital adventure. And what an adventure!
The second certainty is that this new intellectual-emotional experi-
ence has no end.
From that point, every authentic secular miracle, whether ritualized
with playing cards or numbers or little pocket knives or colors or thoughts
or gazes, will acquire the shape and presence of a lightning bolt, a lively
and glimmering light accompanied by thunder, a deep rumble and a high
vital potential.
The ex-spectators and the ex-performer will be forever present.
Inextinguishable. Because it has become part of them.
The magic storm will touch us, perhaps in a different way, and surely
with a variable quality, but undoubtedly with tremendous power. Whether
it blinds us or illuminates us, deafens us or opens our ears, throws us
against the ground or levitates us to the heavens, will depend on each of
us. On how we are. And how we feel.
Because by now the effects of the sleights, tricks and routines are no
· productions, transformations qr disappearances. Once logic and
reason are broken, we experience them as creation, meta~orphosis and
evanescence. I
The magical emotion affords us knowledge and feelin~ that what we
thought impossible, unthinkable, is thinkable, is possible. Jt exists.
That's why all our strength and effort-the alchemical rite of learning the
techniques, of living with the cards awake or asleep, the psychological subtle-
the structural knowledge of effects and routines, the brilliant wrappings
in which we present them-are directed toward the achievement of an atmo-
sphere that makes the tremendous emotional storm possible. (Let's remember
again, too, that it is intellectual and sensitive to time. That is its specificity.)
Needless to say, we could, we can, settle for less, for much less: enter-
tain, amuse, intrigue or amaze our friends. That's fine! To search, perhaps,
for a bit of food for our egos. Why not? Feeling closer to others. No doubt
about it!
With all those bricks added to the cement of narcissism and exhibition-
ism, the wish to have a good time, and other amalgamating circumstances,
they have constructed-we have constructed-many magic sessions. And
of good quality. No one can, I believe, argue against that.
3. The Ideal Goal
We can settle for that. But I believe that, as an ultimate goal, only those
who, loving the art of magic to the marrow and believing in its power,
have wished for, hinted at and almost come to participate in one of those
orgasmic and orgiastic magic sessions; only those who fearlessly entered
the emotional-magical enclosure and have been touched, shaken, rotated,
elevated, transformed, blinded and illuminated by the strengths created
by imagination and mystery; only those who have enjoyed the possible
reality of what they had imagined to be impossible, the profound reason
of incoherent dreams, or the internal and true sense of wishes formally
rejected for being impossible; only those know, only those have managed
to see, only those have found out through emotions, what magic truly is.
 ORlGlNS AND EVOLUTlON

Magic and Art

Thoughts
The "magic of art", "as if by magic", and "the art of magic" are expressions
that refer to the effect of magic, excluding its original sense with esoteric
and occult connotations. We are talking about magic as illusion.

The Magic of Art

But can there be art without magic? When we say of a painting, a dance or
a piece of music that there is magic in it, we are talking about magical fas-
cination and magical enchantment. However, aren't fascination and charm,
in a certain way, part of our aesthetic pleasure; or, in other words, art?

As Ifby Magic 3
This refers to something that doesn't seem natural, that doesn't seem to
obey the laws of nature. But this expression refers mostly to the means,
the execution, the technique, and is equivalent to "through magical means".
3. The original Spanish expression "par arte de magia" is a commonly used
phrase. The author makes a point of the inclusion of arte in this saying. The
English equivalent, "as if by magic'; doesn't include the word art, but art is
implicit in the expression, meaning "as if by artful magic".-TRANS.
N
The Art of Magic
This is where we talk about our magic as illusion, of the authentic art that
is capable. of expressing beauty, of conveying our own world, our personal
vision, to others. This is done through a specific language that makes the
aesthetic emotions resonate, and that is charged with a huge symbolic
potential: the art of the emotion of the impossible, of the supernatural. An
art that plays-a key word here-with wishes and dreams, a first cousin
of dance and drama, a brother of poetry and surrealism, the father of mov-
ies and the son of mythology. It is, in a certain way, the art of making us
witness myths and their symbols as living things.
Something beyond a performance, much more than a show, a thou-
sand leagues beyond entertainment. A very beautiful and fascinating art,
the art of illusion.
Definitions
Magic: The art of lying to create illusion, without true deception.
Magic: Dreaming while awake.
Magic: Wishes, dreams and myths that we consider impossible (still),
experienced in reality (apparently).
Requirements
The art of magical illusion also needs its talismans and objects of power (the
magician's wand when used with due artistic respect), its rites, gestures and
spells (when executed and spoken with artistic credibility) and by all means,
a symbolism (visible or concealed) that charges it with truth and power.
Nothing is further from the See what I can do or the J bet you don't
know how I did it. It is, in tum, very close to causing the exciting chill
of disappearance-death, the joy of appearance-creation, the amazement
1 the magical effect; the handling of pauses, rhythm, timing; the fine-tuned,
of paradox (something that is and is not at the same time) and the gasp
of astonishment at experiencing (for a time, at least) the impossible, the
miraculous, the supernatural, the logical, without being tied to physical
laws. As a dream. As the untouchable, unreachable and unreal Rainbow:
an illusion. Beautiful. Exciting. Art.
~e certainly artistic differences _between large illusions ( close to
and mentalism ( close to theater), as there are differences in the n
performing conditions and individual nuances of manipulttion ( almost
visual poetry) and close-up magic with coins, knives-cards/ ( an exciting,
at times provocative, intrusion of the absolutely impo~sible, of mys-
·~-~,..,.,·,"' secular miracles, into our everyday reality, with us as participants
in the rite). Analyzing those differences would require much more space
needless to say, much more time to meditate on.
Wishes, Petitions Pleas ( to Others, to Myself)
May we experience the extremely beautiful art of magic.
May we join Hofzinser, Fu Manchu, Slydini, Vernon, Ascanio, Kaps and
Rene Lavand.
May we respect our art.
May we love it.
May we find the way to express, to reveal, ourselves through it.
May we more and more enrich our personality, our inner world, with
the assimilation of words written, music performed, images that appear to
move, the shapes and colors that impregnate canvases; and then our per-
sonal experiences: joy and pain, laughter and sadness, fears and loves ...
all these to express later through our games of illusion and our artifices
of fascination.
May we study the craft with the humility of an artisan, may we come
to master it, or be left on the road to mastering: digital technique; the
techniques of the body and the gaze, their coordination, their tensions and
relaxations; the feelings that trigger words to suit them and that will enrich
subtle, as well as powerful, control of attention, both physical and men-
tal; the ever-changing, eternal study of the spectator's psychology, of his
mental reactions, his perception, his memory; the combined management
of the parenthesis of forgetfulness and in-transit actions; the evocative
hooks that enhance the luminous Comet Effect, cancel false solutions,
N
guard against the spectator's becoming lost in the true solution and make
him willingly join us along The Magic Way in our journey toward the fas--
cinating effect.
And. all this amidst the party, like a game, with the joy and happiness
of the creator, the artist, achieved at times through dramatic, continuous
and dedicated work in search of the precious stone, the jewel, the dia-
mond, which we then extract unharmed from the rock, to polish it and
shape it and fix it into an optimal mounting, allowing it to shine more
strongly, purely and beautifully.
May we achieve with our magical art the maximum expression of
ourselves, a maximum of suggestions, a maximum of causes for emotion
and poetry.
All with our deeply loved art of magic.
On the Essence of the Art of Magic
The true problem, in my judgment, is not answering the questions: Is magic
an art? Is it a high art? A low art? First there is the diffifulty of defining
art. (A classic definition is: an expression of oneself throu~h beauty.) Then
there is the near impossibility of clearly distinguishing high art from low
art. What is the real importance of magic's inclusion academically among
the arts, whether they be high or low, grandiose or minimal?
We will not consider this most difficult problem, not only because of
the reason just given, but also for a more valid one: As always in life, the
human factor is the most important thing-to us humans, of course-and
although the human factor does play a key role in the constitution of the
audience, the recipient of our magic, there is another human factor of
utmost importance in our art-for, as you can see, I take for granted that
magic is an art. That factor is the guide, the issuer, the artist: the magkian.
That's where I believe our art sometimes fails. The performer, the
magician, doesn't believe his art is art, and doesn't attempt to express
himself and reveal his inner world and his way of living within his outer
world. He doesn't feel, in the deeper meaning of the word, like an artist.
That's where the root of the problem lies: not so much in the recipient
(the public, the social viewpoint on magic, etc.) as in the transmitter.
Do magicians feel that their art is art, and therefore wish to express
themselves through it; or do they simply regard it as entertainment (for
themselves and for the audience), as nothing more than fun (and nothing
less, by the way)?
Heel that for something to be a work of art-independent of its qual-
ity-it needs someone isolated from reality Gust that?) who invites us to
appreciate the beauty of that something by expressing himself through
it; through that something, through the work and through his election or
creation of it. At one boundary, illuminated by Duchamp and his ready-
mades (objects would be transformed into works of art by the sheer will
of selecting them and isolating them from that reality they inhabit, pre-
senting them as works of art, as objects of arts, not real any more but
ex-real), we all know and have agreed that that is almost the only condition
required to regard something as a work of art. From the urinal-fountain
to the tableware, tablecloths and leftover food stuck to a vertically hung
tabletop, modern art (modern for today) supports and enjoys a beautiful
and fruitful creative freedom. And the human factor in the authorship is,
to my understanding, absolutely essential to the artistic consideration of
something. Not even the most beautiful sunset, or the abstract paintings
that a chimpanzee could produce on a white canvas (beautiful as they
might be) can ever be regarded as works of art, because they lack expres-
sion from a human being. They might cause in us observers emotions and
profound and joyful sensations, but I don't believe anyone can regard
them as works of art.
Still, without reaching that boundary (one that is certainly valid), I
believe that our "magic games" (a beautiful combination of words) will
be artistic the moment they convey the inner world of the magician to the
spectators. This is not done by chance-for any action, gesture, word or
attitude of a human being expresses something about himself, whether
he wants it to or not-but through the free and voluntary will of the magi-
cian (now artist) conveying feelings, emotions, his deepest and richest
inner world, his innermost being, his persona, his own personal or com-
munal loves and fears, his wishes and his dreams, through his "magic
games", his impossible and fascinating miracles, told in a beautiful and
harmonious language.
Summing up, I think that to elevate magic to an artistic level, the first
requirement is that the magician believes in his magic as art and tries to
express himself through it. To express himself, not just to be liked, and not
just to fulfill the wishes of his audience for amusement and entertainment,
regardless of how well that is accomplished and of how highly interesting
that function could be in the context of our vital and social destiny. And,
of course, the richer our inner world, and the more intensively and harmo-
niously that inner spiritual world in us is expressed, the higher the artistic
quality our beautiful, mysterious and symbolic magic tricks will have: a
quality they will acquire-as if by magic.
Some
(Also Self-Provoking)
Do we consider that art has no objective or practical use other than sheer
pleasure and aesthetic joy?
The simple photo we took as a souvenir while on vaca~on or at a gather-
ing with friends, is it art? What if we took it carefully, caring for the framing,
focus and lighting? Is it art? How about the trilling of birds? Is it art?
Would the photo be art if-independent of the conditions and our
objective (objective as in goal, not as in lens)-we hung it in a photogra-
phy exhibition?
Note: In the questions above we are not judging the quality of the result.
Or perhaps it might not be thought of as art when we can evaluate its
quality by objective criteria. If our aim, for example, is to remember the
faces of those who got together that day, it is essential that they are in
focus, so that we can recognize them; while, if it was taken with an artistic
aim (expressing ourselves through that picture), an almost absolute and
intentional blur could have considerable artistic value.
Having said the above, would it be possible to assess a work of art
objectively, or can it be valued only subjectively: "It moves me," "It tells
me something," etc.?
Is there a minimum level of quality in magic below which it is not magic
any more, when we define magic as the "art of the impossible and fascinat-
ing"? Would that minimum level be when the trickery-the cause that turns
the seemingly impossible into the perfectly possible-is seen or perceived?
Wouldn't it be the same level for movies-which are after all a game
ofillusion, a magic trick-if we were to see on camera the stage elevators,
the microphones, the technicians or the artificiality of a rear projection?
Would this take us out of the supposedly intimate and loving atmosphere
and prevent us from regarding it as artistic by not allowing us to feel and
believe the artistic truth of the scene?
Does any other art share the existence of this essential minimal level?
Is there, then, an objective valuation of quality in art?
N
as and Magic as Show
The only goals of certain magic venues are making money and entertain-
ing. The show must be liked by the audience. It's a requirement. If a trick
from the show continuously receives little or no applause, the producer
and the magician himself will agree to remove it from the program, or at
least improve or alter it to please the audience. Only the taste and sensi-
tivity of the performer will dictate the lower limit he will accept to make
a trick be liked. Such limits do exist in these venues and for the dignified
performers working them.
The lower limits defining a minimum level of quality barely exist, or
are very near zero, for television networks, producers and many entertain-
ers on worldwide commercial television.
But the final verdict on whether something can or cannot be in a show
will rest on its entertainment value for a majority of the audience. The
public rules.
That is not the case with movies, theater, painting or music regarded
as "artistic", but it is so with such forms as the so-called ( often wrongly)
"commercial" modes-popcorn movies, music for the masses, hit songs,
etc.-even though these could be dignified works by wonderful perform-
ers worthy of admiration, performers who amuse us and entertain us and
leave us endearing memories.
In those other arts just mentioned-and I believe the same is true in
magic-it is the will, above all, of the author, the creator, the performer,
that transforms, through his wish to express his inner world, a performer
into an artist. (I continue to avoid judging the quality of the final work.)
It will happen in magic just as it happens in movies, music, painting,
sculpture and literature: Although we take into account the reasonable
desire of the artist for his work to reach and move his audience, that will
not be the final arbiter of artistic communication; neither will it be appeal
that determines the permanence of such work in a show, which by now is
an artistic one. The important thing, the essential thing, will be the expres-
sion of the performer through the language specific to magic.
Let's remember how a painting, a poem or a movie that is barely com-
or is a total commercial failure can endure and be exhibited, and
such lasting works continue to b(t created, when they express ( or at 0
least attempt to express) the author. 1
Otherwise, the enriching and marvelous works of Ka:q<:a, Kandinsky,
Monet and Orson Welles-to name a few that are classics today but were
damned in their time-could not have survived.
So a possible approach to a personal criterion as to whether we want
to be artistic performers (I insist yet again, without comparing the worth
of our work as a human activity) would be this: If we agree to include in
our show or performance only those tricks that are liked by the audience,
and we remove all those that are not liked-even if we feel them and they
express our sense of self-then we are not artistic performers.
On the contrary, we are artistic performers if what guides us in the
composition of the show is our desire to express ourselves, even if our
true expression might not appeal to or be liked or understood by some or
all of the spectators.
There is, naturally, no clear division of attitudes; we all, in varying
degrees, have a part of each in us: "artist" and artist.
We can still be, most certainly, good or bad artists, capable or failed
artists. But who is to define and decide?
To continue playing with such themes, we could aim above all for
applause, for the external brilliance, the amusement, the sensationalism,
the glamour or commerciality; or we could be more guided by the attempt
to express ourselves, by the richness and depth of our inner world, by our
way of looking at the external world and conveying our dreams expressly
or symbolically.
We can choose either one set of values or the other, although I believe
and expect that it will almost always be a combination of the two. But
here my concern is with which values end up dictating our priorities, the
essential values of our creative and performing process. We can choose,
I repeat, either harmonic and beautiful construction or the cocktail that
"works"; either the truth and authenticity of what we communicate or
N

an acceptance, within limits, of the demands of the audience; either sen-

sitivity in communication or a certain sensationalism; either the quest
for knowing and enriching ourselves or that of the public knowing and
"enriching" us; and, finally, either the desire of feeling and communicating
ourselves through beauty or the concern of I hope they like it.
The answer and the choice lie within each of us.
It's -your turn.

Post Scriptum:
I am very conscious of the danger that lies in big words like culture, art,
graveness, seriousness, and of the disastrous consequences to which they
can lead us, making us rather arrogant at times, paralyzing us at others
and occasionally deceiving us. And I needn't tell you how I find myself in
that continuous quest and choice, often in combination, of values; nor do THE MATERlAL: DREAMS
I want to hide that, in recent times I have become more and more aware
of my most intense desire and my innermost truth. Dreams of Magic
A magician enters a dream.
What prodigies can he conjure up?
What astonishment can he cause?
The universe of dreams
is the kingdom of the prodigy taken for granted
(how to open your eyes in astonishment as you sleep?).
There is no room for "How!"
"Impossible!" has no meaning.
But, in turn, the pleasing, the fascinating, the fantastic and the
wonderful are the very essence of the dream.
The amazement and the astonishment
occur on awakening
with a How is it not possible?
The "reality", during a few moments,
is flat, limited, small,
Somewhat miserable and, needless to say,
and perhaps because of it,
30 31

incredible. (Magic as .
(The sensual and exciting knowledge of dreams.) an advance of the dream.)
Open your eyes in order not to see? In any case
Tum on the light to blind ourselves? welcome, dear magic.
Wake up completely, for what?
The usual oblivion of the dreamed is forgiving;
it spares us the comparison with reality.
To sleep is not to die if there is dreaming.
To live is to vegetate if there is no dreaming.
A portion of dreams
is served to us by magic.
And an air of life.
Magic, then, like ...
memory of the dreams,
rebellion against oblivion,
freedom for the dreamed wishes.
Magic doesn't imprison the dreams in reality
to transform it into dreams.
Perhaps a certain magic is
a memory of an old ancestral and forgotten reality?
And, perhaps, yes, an evocative kind of magic
but also a foreshadowing
of other possible dreams.
And, of course, a kind of magic
that generates dreams yet undreamed.
Thus a freeing, liberating, Houdiniesque magic.
Opioid magic?
Quite possibly a magic
that boosts the sense of
the wonderful not-yet-possible.
The dream sends magic
to reality
for it to announce its forthcoming arrival.

To wit: Theater represents, is, the reality of everyday life, the great the-
ater of the world. Actors, flesh-and-blood people, represent-act-are. They
are really there. And our positions in our theater seats are felt by us as
a testimonial to what is happening there. We feel c;mrselves witnessing
what is happening in front of us. And that which happens could be lyrical,
dramatic, sad, cheerful, interesting or very touching. But these are events
that could have happened; events we could have experienced as witnesses
or spies when they hypothetically would have taken place. In that case,
we are witnessing something belonging to reality, although perhaps to an
imagined reality that never happened, that never will happen-but a pos-
sible reality nevertheless. Theater is, therefore, a mirror of reality.
On the other hand, there are movies. Inside the theater, in the dark, we
feel carried away, immersed in what happens on the screen. And we for-
get about ourselves; or more precisely, we forget about being witnesses,
spectators. I am not saying that, like Buster Keaton's extraordinary mov-
ie-projectionist in Sherlock, Jr., we live the actions of the movie inside
the screen and take part in the development of the story. What I'm say-
ing is that the combination of darkness, the huge size of the figures, the
power of sound and lighting, etc., produces in us a kind of hypnotic fas-
cination that prepares us to feel like witnesses of a dream. Movies are a
mirror of dreams.
We find ourselves as witnesses of two different events: the theatrical
event, as a possible reality; and the movie event, as a possible dream.
Real people versus shadows, images of people. Actions extracted
from a more or less everyday reality versus actions extracted from
dreams. Events we ,could have witnessed-conversations movement
' '
actions that occur or are simulated on stage-against events that we
could have never, or hardly ever, have been witness to-incredible gal-
lops, the flight of Superman, the burning of Rome, etc. A regular, natural,
normal and unique point of view from our seats versus multiple, unusual,
outrageous, at times impossible viewpoints from above, below, amidst the
moving toward, from and parallel with the action, through the air
en inside the brain. Spatial unifo~ity and temporary continuity ver-
·umps and mixtures of geographic locations, condensations of time,
J '
el actions, flashbacks, etc.
w1 as witnesses.
1
Features of reality against features of dream. And
\.\\l!itI1tes:se1:, of the reality. Witnesses of the dream.
How does magic, our illusionistic magic, fit into all thii3?
Magic, as does film, deals with dream; yet, like theater, it takes place
the realm of reality. Real people carry out actions extracted from
U ..Ll..,U,ALU.J,
and are witnessed from a unique, normal, physical point of view,
in an outrageous and fantastic environment where there is no place
the laws of space and time (for example, ubiquity, predictions ... ).
Magic is produced in an environment like that of theater ( close-up
magic is something else; we'll get to that later) but with contents like
those of movies.
Magic presents us with dreams spun into reality.
There are two distinct styles of magic: stage magic, which has us play
spectators, witnesses; and close-up magic, which allows us to be actors,
participants.
But whether we are spectators or participants, the reality is the same:
the dream. When we say magic presents the impossible, we mean and
should say: the impossible in reality but the possible in dreams-things like
appearances and disappearances of characters, sudden transformations
of one character into another, contents that are larger than thetr container,
reappearances of characters who have just died, walking through the air,
levi~ting, flying, absolute disregard for physical laws (gravity, impenetra-
bility of solids ... ), gratification of conscious and subconscious wishes (an
abundance of goods, money, food; creation; resurrection; knowledge of
the future; divination of thoughts; total control of risk and fortune; X-ray
vision; instant translocations; ubiquity... ).
That's why we are so interested in knowing what dreams are, how
they develop and why. That's why we are so interested in knowing their
measure and the true nature of our most private wishes.
 And so we begin to glimpse something of the true essence of illu~ Magic Movies, Theater, Television
sionistic magic and its huge power to fascinate: its ability to make us be . (and Close-up Magic)
genuinely present, at least for the duration of suspension of disbelief, in
of my first more-or-less theoretical articles (written over forty years 0
the experienced environment of dreams and desires.
I said that illusionistic magic didn't work in movies. lt produces no
Therein lies, in part, its specificity within theater, movies and other 1
t. Hitchcock had already said this. 4
arts: to see our most wanted dreams and wishes ma~e possible in reality.
One reason to explain this is that the people in a movie audience feel
We are talking about the magic of desire.
think, for obvious reasons, that there will be camera tricks: cutting
We are talking about the magic of dreams.
editing, special effects, CGI, etc.
Finally.
Furthermore, in fictional movies, we know and feel that what we are
...·,,.,.,.n,,ncr is a set story,.events that were not genuinely happening at the time
.u..1..L• .........
0
( unlike documentaries) and that never happened. We're viewing
work carefully and laboriously crafted through many days or months
shooting, with images later manipulated and edited. The impossible
cannot survive this process and our knowledge of it. It disappears imme-
diately. It is not even presented.
We can see that the same thing can happen to magic on television.
Camera and editing tricks are too easy to believe.
And yet magic on television does reach us and touch us, sometimes in a
powerful and lasting way. The best-known magician of recent times is David
Copperfield, thanks to his television specials. Two of my favorite stage illu-
sionists are Richiardi, Jr. and Kio. Another two are the Pendragons and
Moretti. I have been touched by them, I have felt the fluttering of mystery,
the extremely strong impact of the fascinating It's not possible. And yet, I
haven't had the joy of seeing any of these performers live. Nevertheless,
the memories of their wonderful and powerful miracles (Richiardi Jr. 's
Vanisrung Lady and Broom Suspension, Kio's Telephone Booth and The
Lion) live in me, and every time I recall them, I feel a deep and delicious
chill down my spine. Such wonders! Such beauty!
4. Hitchcock/Truffaut by Frarn;ois Truffaut, 1966, Simon and Schuster: New York
Since my first encounter with this book, I have consistently recommended it to
magicians, for its monumental teachings, imparted by "the magician of suspense".
The concepts of suspense, a rigorous script, artistic honesty, control of attention
on screen, control of interest, etc., are perfectly defined. It is an essential text.
 36
Another example is the enormous number of people who have been
touched by Lavandian magic-only through television.
So magic on television does reach and touch people, while in movies
it doesn't. Why?
And in theater? Magic within a musical comedy-such as Beauty and
the Beast, with its magnificent effects (The Talking ~ead, the transforma-
tion of the beast into a prince), brilliantly solved by Jim Steinmeyer-are
perceived as special effects within the play. No one perceives them as
something impossible. 5 They are simply integrated theatrical effects; they
are part of the drama, of the story and, although we don't know how they
are done, we don't wonder about it. We are not there to respond to the
logical challenge, to the challenge of reason. We are there as passive spec-
tators ("watchers"), not as active spect-actors.
The question persists: In movies, why doesn't magic touch us, why
doesn't it reach us? And why is it received, as are magical effects in a
theater play, with I don't know how it works and I'm not interested now
because I'm absorbed in the story?
In the case of movies (the representation of dreams) this happens
because, as I said earlier, 6 there is nothing impossible in the realm of
dream, the kingdom of anti-logical transformations.
Besides that wholly sufficient reason, there is another that movies and
theater share: Our magic is a presentation of the impossible in reality. But
movies and theater are representations, the former of dreams, the latter of
reality. Magic, then, would be, within them, a presentation within a repre-
sentation, which is to say a re-representation, distanced a second or third
level from reality. It is a severely weakened reality.
And the ,impossible within a near nonreality has no power, it doesn't
move us, doesn't se~m impossible to us, but is only a representation of
the impossible. I will analyze this point of magic and theater, magic and
5. See the very interesting analysis by Iurgi Sarasa in his essay about magic
viewed from the standpoint of social psychology, published in the Circular of
the Escuela Magica de Madrid, Feb. 1999, p. 73.
6. See "Dreams of Magic", p. 29.
'27
UI
. more depth in the section on "Conflicts in Magic and Their
' 1Il
of Interest" (p. 239). I refer you there.
Television, in turn, is only a means: an instrument to see reality, much
sophisticated than, but not essentially different in its use from, a
opera glasses. Television brings us near somethin$ far away. We
0f . '
·ve it as a transmission, not as a representation. Even -When we know
the program we are watching (not a fictional work, not a series and
a movie) is not being broadcast live, we perceive it ,as being in the
t or at least"as a preservation of something recorded live. We look
UJ.ll:;;.::,.._..u)
at reality through the television and that's where, in that reality, that the
,tmpossible can hit us. Needless to say, we need to be able to trust that
·neither the magician nor the director is using camera tricks.
This is why trust is necessary in magic on television; but no more so
tltan in live performances, where we need to take for granted that stooges
are not being used. Otherwise, how interesting can half of our impossible
· tricks seem, especially those in the category of mental effects? This leads,
'
in a lateral way, to another related theme: close-up magic. Now we can
better understand the strength of the impossible in close-up magic, the
real close-up magic, which takes place not only close to the spectators
but among the spectators and with the "spect-actors". This close,..up magic
has, as we have all tested as performers and spectators, a huge impact,
incredible, brutal at times.
Here I am talking about the true close-up magic, 7 which utilizes and takes
advantage of all the options and features of this specific art wit~ the art of
magic: maximum proximity of all spectators, the capacity for spontaneous
participation,
,.,, spectators' physical contact with the objects in, or with, which
the magic is produced. Sometimes they experience even physical contact
with the magician; they touch the miracle maker, the one with "the power",
the prodigious one. Close-up magic can allow them to be a "live stage" on
which certain "miracles" occur: The coin changes in a spect-actor's hand!-
They tell you what you 're thinking!-The cards in a spect-actor's pocket
7. Or parlor magic that turns into close-up magic when the magician moves
around and performs among or with the spectators.
multiply! ... That's why it is so fascinating and wonderful and makes you feel
experiences that are unforgettable and indelible. That's why I almost always
search only for close-up magic situations, even when I present shows in a
theater. I try to get as close as possible to the sensation of reality, an.d I use
the same lighting for the stage and for the house, to avoid creating two dif-
ferent spaces. There is, rather, one continuous spac~, only one, to make the
spectators feel they are within an everyday reality, and to remove them as
far as possible from the sensation of a show. 8 And that's also why I attempt a
maximum of interaction with the spectators who come onstage, who partic-
ipate (and dance!), the spectators I approach and with whom I mingle where
they are seated, those who come and go, and those who shout the name of
a selected card in unison, throw clouds of cards into the air and yell, "Out!"
exorcising the most feared demons (war, death, poverty, grief... ). 9
But back to our original subject and to summing it up:
The presentation of magic in movies (dreams) is not perceived as
impossible. Magic in movies and theater (re-representation) has no
impact, while magic on television is perceived as tele-viewed in reality
and can be very powerful.
But live magic is the one form that, logically and naturally, presents
the impossible and the fascinating in reality and with maximum impact-
and that is a lot!
8. I do have my problems with theater directors who, with the best intentions, want
to light my stage performance in a way that creates two spaces, two realities, and
who wish to produce an "atmosphere of magic" with lights, colors and effects,
while putting the audience in total darkness; all of which is theater. They tend
to regard me as an eccentric, ignorant of the theatrical art. And they are right.
9. This is aµ approach opposite ( only in this) to that of the great Rene Lavand. He
almost always pr~sents stage magic, even if he performs it close to the specta-
tors: his diction, more theatrical, his expression through gestures, his stories,
his magic, all with scarce participation by the spectators. I clearly remember
the time I said to him, during one of my television series, "Rene, we '11 rehearse
now with cameras, and this afternoon we'll shoot, when the audience arrives."
To which he answered, "No, I prefer to do it now, alone with the camera."
These are, I believe, two equally valid artistic approaches.
Secret Miracles
What is Magic?
1. Reconciling in the individual the imaginary and t11e real.
2. When the paradise that is offered merges with desire.
3. A time when there is a longing for the pre-logical attitude.
4. When the isolation between actors and spectators, creators and
contemplators, is broken.
5. An event full of symbolism.
6. Searching for the wonderful to free us from logic.
7. A special sensitivity in facing the poetic power of myths.
8. An intention to play freely with the identity of objects.
9. To call tobacco what is ear.
10. Reaching the Supreme Secret: where life and death, past and
future, the real and imaginary cease to be perceived as contradic-
tory elements.
Material required
Books on surrealism by Jose Pierre.
Quotations from Benjamin Peret and Rene Magritte.
The second surrealist manifesto of Andre Breton.
Secret
The ten phrases I used for responding to "What is magic?" are actually
'\
paraphrases of answers by surrealist painters and writers to "What is sur-
realism?" I have only substituted the word "magic" for "surrealism".
It's useless trying to demonstrate a greater parallelism, or rather con-
vergence, between magic and surrealism. If you read the phrases again,
you will experience it for yourself.
But even without such demonstrations, the parallelism is proved when
looking at Victor Brauner's painting "The Surrealist" and the paintings of

N 40
~
~ Rene Magritte, the objects of Man Ray, the movies of Cocteau and the
~ writings of Breton.
~ Comments
~ I
~ Nevertheless, here is one comment by me on each of the ten answers above:
Reconciling in the individual the imaginary and the real.
Comment: In magic, "It is or it is not; that is not the question."
When the paradise that is offered merges with desire.
Comment: From here arose the theory of the magic of desire.
The time when there is a longing for the pre-logical attitude.
Comment: As with very young children, before the grid of logic traps
our minds. As with a very primitive place, before culture and civilization
restricted our freedom, reduced our fantasy, limited our imagination and
killed our intuition.
When the isolation between actors and spectators, creators and
contemplators is broken.
Comment: Magic is an art in which the spectators participate actively,
with physical actions, and can alter the development of a trick This is
fully applicable to close-up magic. Isn't it beautiful?
An event full of symbolism.
Comment: In Conjured Up, S. H. Sharpe wrote: "All magic is symboli-
cal, even when the artist is not conscious of the fact." This is demonstrated
by Luis Garcia, Eugene Burger, Robert Neale, myself and others, in our
search for magic symbols hidden in classic tricks.
Searchingfor the wonderful to free us from logic.
Comment: A spectator who saw Slydini's Helicopter Card: "It is not
possible! ... but it is." It's a paradox; logic is useless. Magic is an escape (tem-
porarily) from the ties of the sometimes excessive and almighty reason.
"Magicians: Surgeons of the absurd crowned with a top hat."-from
an interview with Juan Tamariz by Quico Rivas in El Pais Semanal.
Long live the absurd-the e~d of the impossible!
41
l sensitivity in facing the poetic power of myths.
ent: Echo and Narcissus, <;}alatea, Pandora, Thor, Siegfried,
Indian, Chinese and Aztec mythologies .... What are they if not dra-
f enormous poetic beauty? When will they be broug~t to the stage?
· present, again or finally, a levitation like the Ascen~ion. (Brachetti
done it), ventriloquism like the legend of Echo, a fa~r feat like The
of the Nibelung, a play of mirrors and flowers like the,' transformation
cissus? Can there be a good magician, a truly good magician, who
't lean on mythology, whether he is conscious of it or not? Universal
logy: a classic of good magic. Passionately recommended.
intention to play freely with the identity of objects.
Comment: That's what Magritte said about his painting. That's how the
,cian works. A ball that is a handkerchief that is a flower that is a smile
a goodbye. Or a Hello! full of hope. Are surrealistic objects (Duchamp,
Ray, Picasso ... ) magical objects or do they ask for the magical?
Magical objects (wands, boxes, cards, cups ... ) are or will be surre-
alistic when they fulfill their function: to be and not to be, to change, to
transform, to grow, to be, to disappear, to be again, not to be again. At the
same time: not to be and be.
Example of a surrealistic and magical object: Clayton Rawson's egg-
beater used as a thought transmitter.
To call tobacco what is ear.
Comment: Magritte says it, Magritte does it. The magician makes you
see that what is an ear is tobacco.
Reaching the Supreme Secret: where life and death, past and
future, the real and imaginary cease to be perceived as contra-
dictory elements.
Comment: Words of Breton in the second manifesto of surrealism.
If that is not magic-and the objective of magic ...
Magic is the harmony between contradictory opposites.
And then ...
The humble craft of making possible what was said to be impossible.
N 42
p2
~
~ The sane art of showing a utopia achieved, which makes us live our
~ dreams (to fly, to be invisible, to create ... ), which helps us go through the
~ mirror and enter the paradise of granted wishes, which liberates us from
;::s the force of gravity. Like this:
"""l I) From Force
Beautiful weapons were those that the magician transformed into
inexhaustible taps of wine, into orange throwers, hempseeds, atomic soap
bubbles, nice tanks, three-cornered neutrons. When the magician turned
them into frogs, soft snow and large beds with mattresses.
2) From Gravity
Frogs that sing and jump over the snow, which melts into white mead-
ows that half cover the inviting bed: joy, laughter and love.
3) From Magicians
Oh, magicians!
Jugglers of reality and dreams, escape artists from all jails, shackles TO WHOM lS lT ADDRESSED?
and cells of physical and mental torture. Ventriloquists with a thousand
voices, some false, many real, all nonexistent and free. Mockers of Cronos, Magic Is Only for Children
with their Cortazar-style mirror, which foresees and reflects the future.
Preliminary thoughts:
Supplanters of Zeus, no Zeus left standing, neither a Zeus with a head,
From what they tell us, due to the evolution of our species, each of
no Zeus who can deal with them. From Zeus, Zues, from Zues, Suez and
us has several layers in the brain, each covering another: the saurian
Nuez, which is Nut in Spanish.
brain (instinct), the mammalian brain ( emotion), the primate brain
And inside the nut, the rolled-up banknote that is missing the precise
(intellect).
corner being held by the stunning lady in the third row...
With this there would come some form of memory of what we have
You may check:
been throughout the evolution of our species. And our species would be
Yes?
a summation of all previous phases. We would retain instincts, emotions
Exactly!!
and4ntelligence to constitute our present species: the human species.
Wonderful!!!
Likewise, I believe that we as individuals keep memories of all the
Amazing!
phases of our personal evohition. We are made of several layers: the new-
Presto!
born, covered by the baby, the pre-logical child, then the logical child,
Like (Ex-)Zeus, they create and uncreate,
they believe and disbelieve, the teenager, the young man or woman, the youngster in his twenties, the

at will, dawning of our first maturity (thirty to forty), etc.

but without a reason, for its own sake, without aim or measure, for fun. I also think that each of these "persons" covers but doesn't dissolve
Magicians. the others. We are all of them.
N
Each of us, each personality, is made of the last visible layer, but all
our previous persons are there, sometimes in a latent state, some loving
themselves, some struggling to come to the surface.
You also get a feeling that human activities capture the interest, call
attention to or fascinate different layers in a person. Here are general
examples, perhaps interchangeable and subjective, .and suggested only
for us fo understand each other:
I believe poetry is especially addressed to the teenager within us: feel-
ing, emotion, lyricism ....
Sport as a show brings out the child possessing vitality and energy, the
child we were around the ages of eight to twelve.
Trips re-experience the taste for adventure that the youngster has
from the age of fifteen to his early twenties.
Science, research and discovery are intellectual adventures that fasci-
nate the young person from twenty-five to thirty who lives within us.
Different styles of music and painting call and awaken different peo-
ple-layers: the baby (rhythm, African dance ... ), the teenager (Chopin,
impressionism in painting ... ), the child (rhythm, Klee, Chagall, Calder,
Kandinsky... ).
What about magic?
It obviously appeals to and fascinates the pre-logical child; fantasy,
imagination, eagerness to play, the wish to fly, of being invisible, of trans-
forming things, of making whatever you want to appear or disappear
without the interference of logic and so-called reality.
To dream.
The Three Wise Men, fairies, dwarfs, genii, witches, magicians ....
That's why the prestidigitator, the magician, never fails to fascinate
and enchant small children, those not yet seven. Their faces whenever
they watch a magic show tell us that. That's why, at every children's party,
always and everywhere, kids most often ask for a magician, along with
other forms of magic such as puppets and balloon modeling.
So, does magic appeal to adults?
Adults, an ugly concept, an ambiguous little word sometimes ....
adult is someone who possesses a viscous, impenetrable layer that
'and suffocates the young adven~er, the lyrical teenager, the magical
leaving them choking inside. An adult is someone who seeks security
' ;
power, money and power, politics and power. Magic attemfts to dissolve
penetrate the layer of ma~ty (it can barely do so with the /adult layer) to
h the pre-logical child, excitable, imaginative, a dreamer of ~possibilities.
Magic is addressed to mature people, in addition to youngsters, so that
can also laugh and feel the child they are.
If, on top of that, the magic carries poetry, it will strike the sensitive
in the impossible dreamer (love), the teenager.
If it includes play and participation, it will appeal to the child from
to eleven. If it carries intellectual adventure (how is that possible?),
reaches the restless twenty-year-old. But essentially, it will search for
the innocent, the intelligence unaware of the concept of "impossible", the
pre-logical child.
Only by letting that child within us breathe can we savor and enjoy
magic in all its marvelous wonder.
-If we leave our imagination free to fly, liberated from logic
-if we joyfully accept to play with little colored balls, handkerchiefs,
little boxes and little wooden cars: toys
-if we can repeat the magic words and spells aloud, along with the
magician
-if we cherish the abracadabrian gestures and sprinkle magic dust,
feeling it in our fingers
-if we are capable of looking and feeling with innocence
0:aly then will we be able to enjoy the immense fascination of magic,
no matter whether we are the magicians or the spectators.
It makes no difference, if we agree to dream, to mix fantasy and real-
ity, to play, to be enchanted, as we did with the Magi and Santa Claus
when they deliver gifts to us on the Feast of the Epiphany and Christmas,
without asking ourselves how these workers of wonders could know our
wishes and requests, or how they can be everywhere on the same night, or
how they can enter through the locked door of a house.
 Only then will we feel the lost emotion of pre-logical and magical inno-
cence. Therefore, only if the magician is capable of finding that child in
others-and in himself!-will the magical spark occur.
And for that, I believe, he should be able to address and fascinate
with his tricks and demonstrations and miracles the young dreamer, that
adventurous boy who loves mystery, the mature person who is amazed
and enjoys having lived the impossible, momentary and joyful liberation of
reason-and he will have to do it (careful!) in the appropriate language for
each of them, in the language understood by the teenager, the youngster
and the mature adult, to be able to invite them all to discover, to show them
(and have them show themselves) the hidden child, the tender and magical
child that is perhaps dormant and is bored, lonely and forgotten inside.
Magic casts its spell when that child revives. That unveiling, almost at
times a resurrection, is the magic act. That's when magic appears.

ED?
 HOW 1S lT PRODUCED?

The Process of Creation and Interpretation in Magic

I believe this attempt to approach the subject can be very useful for clari-
fying ideas and can serve as an analytical tool to understand magic and its
creative process better.
Let's attempt it in a schematic way.
1. The author of a trick possesses an inner world (ideas, beliefs,
defined personality, etc.), which has been shaped by his experiences, his
character, the acquired culture (artistic, historical and philosophical) and
surroundings (his external world).
We will diagram it like this, willingly ignoring the innate, inherited part
of his character:
 N 50
~ 51
~
~ 2. The author also possesses a magical wisdom, a specific part of his
~ culture, which could be divided into two large zones: technical wisdom
~ (effects, sleights, methods ... ) and a magical culture (magic history, magic
~ philosophy, psychology... ).
,--.,
Author
3. Points 1 and 2 give us this result:
4. The author devises or creates a trick In that act of creation all
I )
the elements are included: his magical, technical and cultural wisdom,
and his inner world. If we believe in muses, the collective unconscious
or any other form of human or divine inspiration, we could add that to
the scheme. I prefer to include it in the external world, to simplify things.
Then the creative act would be as shown next.
influerces
Trick
5. The more magical wisdom or intuition this trick embodies, the more
it incorporates the inner world of the author, the more it expresses about
the author, the more traces of life there are in it, the more artistic it will be.
There are, therefore, many tricks that are amusements or pastimes
(no less than!), which express only the general magical emotion of an
apparent impossibility, of mystery. Others are more expressive and gather
certain expressive intentions that are clearly transmitted: multiple produc-
tions of coins and banknotes, the production or creation of living beings,
gambling demonstrations, escapes, decapitations, etc. In certain cases the
intention, the expressiveness of the trick is less clear, more obscured, or
is simply suggested, such as the Cut and Restored Rope (resurrection)
and Four Ace Assemblies (reunion of the four elements).
On
'\
the other hand, as examples of tricks that are limited to the expres-
sion of the general emotion of mystery, an impossibility adding barely
anything else, we have productions of thimbles, colored disks, etc.
It is my belief, I'll repeat, that the more traces of life there are in an
effect, the more expressive and artistic it will be, and the more deeply it
will touch the spectators when they receive it or witness it at the end of
the creative and interpretive process. It will be a trick that impresses them
more, and therefore will last longer in their memories.
 52
6. The trick at this point consists of two fundamental elements: \the
effect and the secret. In other words, the magical effect and the deceptio
m~th od, ruse, etc. Example: The disappearance of a coin up the slee:,
usmg a Pull.
But if the trick contains a minimum of complexity, it will also carry
a ~o~d d~se of magical structure-parentheses of forgetfulness, mental
m1Sd~rect10n, etc.-and an important dose of dramatic structure, with
conflict, dramatic curves, a climax .... These components constitute alo
·th h ' ng
WI t e patter and certain indications for the interpretation of the trick-
rhythm, pauses, attitudes, etc.-the dramagic script, as follows:
Effect
Technical method
Magic structure
Dramatic structure
Patter Dramagic script
Indications for
interpretation
7. In general, the possibilities of the technical method have been studied
tho~oughly and deeply-moves, sleights, gimmicks, hand gestures, body
~otwns, gazes, etc.-and the effect to some extent, although a lesser one-
its expressive possibilities, its communication of different emotions from
the basic ones present in every magic · al effect (mystery, impossibility).10
But let's continue with the process of the trick:
8. The trick devised by the author must be transmitted to the inter-
preter and learned by ~im. (We will assume author and interpreter are not
one and the same.)
10. Always without forgetting the advice about the elements of magic structure
(Robert-Houdin, Vernon, Ascarno
· .. •) , ofdramat1c
· structure (Fu Manchu, Slydini,
perhaps myself... ), of patter (Rene Lavand, Jose Carrol Armando d M" l )
~ , e 1gue ..
and ef1.ect (Sharpe, Delord, Burger, Neale ... ). .
53
The transmission can take place through written means (book), visual
form (video, DVD, Internet), a lecture or through personal instruction by
the author or others.
e
9. The author might transmit only the bare bones of a trick--'--effect and
method-to the future interpreter; or he might provide a fuller form by
including the dramatic script, partial or complete. He might also transmit
information about the creative process. 11
We'll leave for a later time the assessment of the advantages and possible
disadvantages in transmitting to the interpreter the bare bones of the trick or
including more elements, and the pros and cons of the means of communi-
cation (lectures, books, videos, etc.) used to convey the different elements.
At this point, the scheme is:
Effect
Technical
method
Magic
structure Teaching
,( . )I jPerformerj
Dramatic
structure Dramagic Learning
script
Patter
Indications for
interpretation
10. The trick has reached the interpreter from the author. The inter-
preterwill have his own inner world and his own magical wisdom (technical
and cultural), different from those of the author. Now the trick must be
adapted by the interpreter to fit his personality, his technical knowledge,
his capacities. So a process of re-creation of the trick is initiated. The
degree of re-creation can be slight or thorough, depending o~ how many
elements of the trick, as it has been received, are maintained (though they
will q,lways exist). Sometimes the re-creation can be as essential as the
creative process. Ascanio's "The Restless Lady" is obviously as deeply
personal as was Tenkai's "Card Flight", its model.
There are three elements participating in this process of re-creation: the
original trick, with whatever it contains from the world of the author; the
inner world of the interpreter; and his magical wisdom. It looks like this:
11. For an example of that, see the attempt I made in "The Hypnotic Power of the
Jokers" in Sonata, 1991, Editorial Frakson: Madrid, p. 192.

11. The interpreter now possesses an adapted (enriched?) trick and is
prepared to rehearse it. This rehearsal is a long and sometimes complicated
12
process. It includes the staging of the trick, the elements oflighting, music,
rhythm, blocking, acting, etc.; components that could not be included in
their entirety by the author. That's the task of the interpreter, aided by his
magical director, who can be the interpreter himself or someone else. 13
12. A trick, once studied and staged (still without an audience), is what we
will refer to as a rehearsed trick, in a broad definition of the word rehearsed.
Diagrammatically, it looks like this:
12. See a very interesting approach to the subject in The Magic of Ascanio: The
Structural Conception of Magic, Jesus Etcheverry; 2005, Paginas: Madrid,
pp. 266-70. And while you are there, read the whole book. And learn. And enjoy it.
13. I would like to differentiate the magical director, who is acquainted with and
lives and knows and feels the magic and its features as a theatrical art (very
different from theater or drama), from the theater director, who comes from
that field of the dr~atic arts and is able to make magic theatrical, to trans-
form the presentation into a representation, and in doing so weakens the
magical impact. A few of the good magical directors are Eberhard Riese in
Germany, Henk Vermeyden in Holland, Georges Bell and Roden in Spain. And
I've done a bit of that work as well.
55
RE-CREATION Re~created Rehearsal Rehearsed
reter trick trick
13_The trick now need~ to be performed for one or morf other persons:
spectators. They are the receptors of the trick. But let'~ remember that
also receive many other things through the trick, enriched by a series
expressive and emotional elements. There are traces i:t;1 the trick of the
r worlds of the author and of the interpreter, traces of their respec-
e cultures, of their magical knowledge, of their magic culture, and even
.t>f the dramatic wisdom of the author, interpreter and magical director. In
·.;~ther words, if this process is sufficiently rich, expressive and artistic, it
Js not just a simple puzzle to solve but something much more interesting,
·tornplex and exciting: a magical effect created by the author, re-created by
·the interpreter and staged with the help of the magical director. Behind the
prtef minutes occupied by the presentation, there are hours, days, months
~. . and sometimes years of creation, transmission, assimilation, adaptation,
;e-creation, rehearsal and study by two or three people. There is a whole
t world of creativity, efforts, study, expressiveness and emotions. In such
cases, the magical effect can eventually turn into a work of true art.
Let's now look at the second phase of our schematic:
.--------, Presentation
Magical director
14. We must remember that in this process of presentation, at the time
the effect is performed for an audience, other variables come into play:
the conditions of the venue, the positioning of the spectators (around the
N
magician, far, near, standing), the position of the table, the type of stage,
the number of spectators, the composition of the audience, its cultural
level, the current condition of the magician (happy, sad, healthy, sick
' communicating the rich inner world, of emanating energy, of receiving,
sleepy1 hungry, full ... ), interruptions, etc.; in other words, all the elements
that in magic, and more so in close-up magic, make every performance
different and give every trick a unique presentation. That's where the per-
former also expresses and transmits all his values,· his energy, his inner
world, his personality, his ability to improvise, his truth, his persona.
Thus, there is a specific way to transmit the inner world of the inter-
preter, one not so much through the trick as through the performance
itself. Let me explain: Jose Frakson performed a trick in front of an audi-
ence and in it he naturally expressed elements of his personality. But
independently, Frakson also revealed himself in an even more evident
way through his performing style, his movement, his speech, his way of
addressing the spectators, of looking at them, of smiling, of loving them.
After all, "Magic is love" and "You should love what you do."
Frakson's communication of his inner world would have been similar
if, instead of magic, he had been singing or telling stories. In fact, when
Frakson gave a talk about magic, in which he recounted anecdotes of his
life and miracles (quite literally), he conveyed his inner world, and we
were all completely receptive to this transmission of joy, wisdom, humil-
ity and goodness.
I am convinced that in this communication lies the true secret of the
interpreter, the reason why, regardless of the trick performed, he manages
to reach, captivate and move the audience. That's the ultimate reason for
the success of some magicians, not discounting, of course, the more evi-
dent quality of their magic.
The two· means of communication between the interpreter and the
spectators could be diagrammed as follows:
Human communication (energy, feast, love ... )
Interpreter Re-created Rehearsed Presentation Spectator
trick trick
It is impossible to elaborate here on the previous point, given its
· and complexity We will have to talk about the capacity of the
1mess ·
.futi.e"1.'f'Jf':)rpi to provoke varying moods in people, of creating a playful feast, n
the spectator's reactions, of resonating with them, of expressing
turn, '
81\d transmitting their truth, their capacity to create a communicative atmo-
sphere, of transforming the magical presentation into an ~ct of ~o~e (see,
Chapter 6, "The Seven Magic Veils", p. 357). I want to stress my opm1on that
those who disregard this fundamental aspect of a magical presentation,
though that presentation may be admirable, transform it into a cold, tech-
nical, almost lifeless and scarcely artistic transmission of a trick
16. Having reached the last component of the transmission (the spec-
tators), it would seem we have finished our analysis. But something of
utmost importance is missing: The trick has been witnessed by the spec-
tators and has produced certain sensations in them. The trick seems
unmodifiable; it is as it was during the presentation, period.
But that's not the case. Not even close. At least I believe so.
Given the characteristics of magic-with its elements of mystery and
surprise, the spectator's possible search for solutions, the impact of the
impossible on his logical mind, etc.-the magic trick is re-created and
re-elaborated by the spectator in his memory. The trick is, in fact, altered.
The conditions the spectator believes to have coalesced during the trick,
its vicissitudes and even the magical effect itself are altered and trans-
formed in an exaggerated form by the spectator during various mental
processes: first, when he perhaps tries to understand the why, to find a
way to embed it in his logical grid of thought without its grinding; second,
when he remembers it in order to appreciate and enjoy it; third, when
for some reason, after time, from minutes to years later, he evokes it for
himself and tells it to others (and they usually hear something amazing).
During this phase of permanence in the memory, tricks can vary
notoriously. This phenomenon of the changing process of a trick in the
memory is sometimes as fundamental as the whole preceding process of
creation and interpretation. It can be like a second re-creation of the trick.
N
\

I believe a good trick should be a comet, a brilliant point: the during

its presentation. And this comet has a long, luminous, beautiful and gradually
broadening tail: the trick in the memory of the spectator and in his frequent
and amazed evocations of it over time. This enhancement of the memory is
what I refer to as The Comet Effect, which I will analyze in Chapter 4 (p. 147).
Thus the diagram broadens:

17. To attempt to push this process nearer its completion, I should

point out that there are at least two elements we have forgotten.
The first is the cultural disposition of the spectators during the presen-
tation of the trick. I understand cultural disposition as the mental attitude
of the spectators toward the magic, their willingness to be moved, to per-
ceive the inner world of the magician, to make an artistic reading of the
magic feat and not simply to watch a more or less ingenious pastime. This
will obviously depend, for each spectator, on his or her personality. On a
general collective level, it depends on the attitude of the magician: Look
at this trick or See the beauty! It also, to a great extent, depends on the
cultural environment's perception of illusionistic magic. AN
When presenting a magic trick, we are not putting ourselves into the
same mental attitude we assume for listening and watching a musical con-
cert, classical or rock, a circus performance or a basketball game.
The second forgotten element relates to impromptu, or seemingly
impromptu, magic. 14 With this kind of magic, the author, the director and
the interpreter quickly gather for a very short time. The magician creates
an effect and presents it almost immediately. To do this, he must rely on
his magical knowledge, which must be deep and rich, and on his imagina-
tion and capacity to improvise.
Here, not without some fear that I may have forgotten an element of
major or minor importance, I conclude (for now) this analysis, hoping
that it serves as a template to better understand and assimilate the pro-
cess of creation, interpretation and reception of a piece of artistic magic.

14. See "Impromptu Magic" in Chapter 8, p. 397.

 THE MAGl CAL EFFECT

How Should It Be?

A LONG time ago, in the beginning, all my interest was focused on how
to conceal the secret of a trick. Later, I gradually became interested in the
presentation, on making the development of the trick interesting. Later
still, I concentrated on making it seem impossible, truly impossible. More
recently, I grew interested in the effect: His Majesty, the Effect.
Nowadays my attention is centered on the emotions, the experience,
on what the spectators feel during the development of the trick: before
the trick begins, during it and after it is over, from a moment later, a day
later, a month, perhaps even several years after.
I will now outline some of the values that make a good Magical Effect
for me.
N

A magical effect should be (for me, I insist): tmakes the magician: a Legend. .
arration ( sometimes made aloud to others, sometimes
anks to ora1n -
Initially . . . . . . .
voice to oneself). O
In its development. makes magic and the magical effect almost: a Myth. .
At the climax. . . . . Dramatic hidden symbolism of classic effects (sY/ffibolic magic) .
Thanks t o the ,
And intellectually . Impossible
y it be so. Amen.
Which produces . . . a Fascinating Experience
In such a way that it's . . Memorable
And over time, more and more. . Magical
That makes the magician . . . . .a Legend
And makes magic and the magical effect almost. .. a Myth

Let me explain:
Initially: Interesting.
That is, it must be appealing and should make people want to see it
(the magic of desire).
In its development: Exciting.
It should touch us and relate to our lives (sensations, people).
At the climax: Dramatic.
Thanks to the emotional development, thanks to the art of the pause,
thanks to the patter and to suspense (dramagic).
And intellectually: Impossible.
Thanks to the technique, to the method, to the psychology, to the inge-
nuity (False Solutions and The Magic Way).
Which produces: a Fascinating Experience.
Thanks, above all, to the magician's personality, which is expressed
through the art of magic (the magic of dreams).
In such a way tl{,at it's: Memorable.
Thanks to the evocative hooks, to the power of internal experience, to
the fluttering of mystery.
And over time, more and more: Magical.
Thanks to the desire of making it that way and to the affective distor-
tion of memory (The Comet Effect).
 CLASSlC EFFECTS

What Are They? Which Ones Are They?

Why Are They Classics?
Magicians and audiences like them, they are moved by them. Their appeal
is long-lasting. People have liked them and been moved by them for many
years, even centuries. And it seems these effects will continue to be liked
and continue to touch people for a long time.
Examples: Cut and Restored Rope, Linking Rings, Multiplying Billiard
Balls, Rising Cards, Miser's Dream, Six-Card Repeat, Egg Bag, Cups and
Balls, Coins through Table.
These are some of the many classics that come to mind. Many? Well,
I woo.Id call almost forty card tricks ( or more) and just as many non-card
tricks classics. I am deliberately excluding stage illusions, comedy magic
and mentalism from this essay. (See my personal and subjective list of
card classics in Appendix 2, p. 561, and a discussion of other branches of
magic in Appendix 3, p. 581.)
But what do these seventy to eighty classic effects have in common?
On reviewing their titles, the first thing that comes to mind is that they
are simple and direct. Simple in the sense that they are not intricate, and
N
direct in that they are not far-fetched. If coins are to go through a table
' · .bility, it should be perceived a~ such.
they penetrate it without further ado. If rings are to become linked, they
link. There aren't any additional, minor or supplementary effects to dis.
tract us. There are always six cards, the card rises, the egg is in the bag
and then it's not.
The mere attempt to describe the effects makes me aware of another
feature of them (perhaps a consequence of their simplicity and direct.
ness ): They are easily described in a few words: Four balls come out of
one, a dove appears from a handkerchief, coins appear from everywhere.
While the first trait-a simple and direct effect-can be subject to
individual judgment, the second trait-described in a few words-can
almost be measured in inches, the length of the text describing the effect.
However, if I observe carefully, I see that something special happens
in almost all the effects on my list: The effect is not performed just once
but is repeated several times. It's never just one dove or just one coin
out of the ear. Neither is it just one multiplication of a ball. Two rings are
never linked and unlinked just once.
This third feature seems to give a hint of why these effects are classics.
They are classics-which were, are and will continue to be liked-
because a simple, direct effect often means it is brief and, as such, the
effect can be repeated without wearying the attention of the spectators;
with repetition, the mystery gradually increases, though not the surprise.
More and more, the magic conflict increases, interest increases, the
impossible becomes magically possible. But a doubt now arises: Can any
simple and direct effect be repeated?
I don't think so. It should be interesting the first time, and it needs
to be a truly impossible effect. The simple and direct effect of a wrin-
kled handkerchief that becomes unwrinkled would not work because it
. '
doesn't seem impossible enough.
There are intriguing puzzle-like effects, that will never be classics, no
matter how simple and direct they are, or how clever their methods are.
So, to the trait of simple and direct effect, we could add another:
truly impossible (we might add miraculous, strong, etc.). Just curious,
ing or difficult is not enough. Having been loudly proclaimed an
ll we are moving forward, but something remains to ,be mentioned: n
1
a~le to repeat the effect, we recognize it should b brief without
· g· but that condition is fulfilled automatically by the effect
bonn, ,
simple and direct. It also needs to be seen as an "impossible" effect
spectators are to be interested in seeing it again. A puzzle intrigues
impossible effect truly interests us. ·
But haven't we said for centuries that the same effect should not be
ed twice, let alone several times? What of that?
It seems like a contradiction or, better expressed, a small technical
. It turns out that it should not be repeated; but it also turns out that,
be a classic, it should be repeated, even several times.
Let's try to untie the knot. Should not be repeated doesn't have a magi-
~al function but a defensive one. It should not be repeated, not because the
ect isn't improved by repetition, but because in the repetition there is no
and spectators will watch more closely. They know the result, they
ii"'t.1...,. r,'£'.~"J.a'"''
more time to think, they have more information, they watch every-
more carefully and might discover the secret and be disappointed.
Ah! Then it isn't that an effect should not be repeated but that you
must be careful when you repeat it that the magic doesn't disappear.
Now it has become clear to me: Repeating is better.
In fact, every time you do something magical that is strong and brief,
you are usually asked directly or indirectly to repeat it. How many times
have you heard, "Can you do it again?"
Alurther trait then of a classical effect is that, for some secret reason,
it may be repeated without being discovered, retaining its magic. But what
is that secret reason?
I see an important point here. I'll begin by saying it doesn't depend on
the effect but on the method. In other words, the method should be inge-
nious, indetectable and repetition-proof.
I am about to be satisfied with this· thought when, reviewing the list
of classical effects, a new thought occurs: In some cases there is not a
N
single method, but several methods used in succession to achieve the
same effect. The ultimate example of this is the wonderful Linking Rings.
Its only effect is solid through solid, which is sometimes achieved through
a false ring count, other times by the use of the "key"-a ring with an
opening-other times through an optical illusion of the rings being linked
others by switching loose rings for linked rings, and yet others by secretly
' Onable
adding a key ring after all the rings have seemingly been examined. This
brings me to the idea I explain in detail in The Magic Way: Each repeti-
tion of the same effect with a different method can be complementary; it
can cancel weaknesses or solutions of other repetitions. In other words
' But what does this appeal consist of?
repeating an effect (which complies with previous conditions) with differ-
ent methods increases its apparent impossibility. 15
Needless to say, if the effect is repeated more than twice, the condi-
tions and the dramatic build-up should be varied.
I will conclude for now my meditations on the issue of repeating or
not repeating with this: You must either have an absolutely indetectable
method (like the Han Ping Chien sleight with coins) or use different meth-
ods for each repetition.
With this we have reached a point in our discussion in which it seems
convenient to take a break and contemplate what we've found: A class'ic
effect should be simple and direct, describable in a few words, truly
impossible-seeming and have one or several methods that are indetect-
able and, if possible, complementary.
Stating this makes me feel we've reached certain valid considerations.
It seems to me that all the tricks on my list of classics comply with these
conditions. I think I have come to a conclusion.
15. This resource, known and utilized by magicians, relates in some way to the
famous assessment of Bruce Elliott: that it is better to know one method for a
hundred effects than a hundred methods for one effect. He refers to the use of
a single method to produce different effects at different moments, comparing
it to a certain uselessness of knowing many methods and using only one. He
also refers to the monotony that could arise when the magician repeats the
same effect over and over, believing each repetition will be perceived as a
different effect, only because the method used for each was changed.
djust as I am about to declare this short study :finished, a new doubt
: These characteristics of met~ods and effects are certainly neces-
but are they sufficient?
think that, if a trick were to comply with all of t~ese conditions,
·ng effect would be a good one, even excellent. This is rational
result1 . i
But is the trick sure to become a classic? Maybe-
reas · ;
be not.
Let me explain. I believe that, aside from all the conditions cited, the
should have a certain special appeal, equivalent to sex appeal or
a magical allure.
:d:l~imc>ur,
To begin with, I lean toward thinking it should be emotional (like
handkerchief that is accidentally tom); but I immediately see many
in the list of classics that offer no emotional aspect, such as the Ace
A.ssembly. Perhaps the trick should possess visual beauty, like the Color-
iChanging Handkerchief; but only some of them possess that attribute.
So what produces the proper appeal?
I am comforted to remember that the same question occurs when peo-
ple try to define the causes of sex appeal, glamour, charm or duende. They
are concepts that elude reasoning and logical constructs. They are slip-
pery, sneaky, playful; and perhaps that's where part of their essence, their
charm, their appeal, lies. We have entered a circular reasoning: the charm
of "charm" and the appeal of "appeal".
But is it really impossible to pin down a practical definition? Is it
impossible to explain that quality?
I don't think so. I believe a certain correspondence of an effect with
'\
the wishes of man and woman has something to do with it. That corre-
spondence can be found at a primary level (money production) or at a
secondary or tertiary level (Cut and Restored Rope: resurrection; the Egg
Bag: creation of life, birth). They are conscious or subconscious corre-
spondences, but always correspondences.
I find myself returning to the same point: the magic of wishes, the
magic of dreams and of myths.
N

I would add, then, one last feature: The classic effect must have
h. a
myt ical and desired component. In summation: The effect should b
simple, direct, impossible, repeated and mythical. But that's another story~
.ilim~eoo~ ·

SYMBOLS

Magic and Symbolism

maybe not.
That's how the preceding study on the classic effects ended.
I searched for the duende of magic, the hidden charm. I suggested the
magic of desire. I wrote, without saying as much, about the magic of sym-
bols-of the symbols that fulfill the archetypal desires of humanity. After all,
part of the essence of artistic magic is to produce and share the experience
of the impossible we desire. That's the sap that nurtures our art, a meta-
phoric art that is expressed through a perceived symbolism, _sometimes at
a conscious level, other times at subconscious and more concealed levels.
But let's take it in steps:
What were the steps I took, the road that led me to these conclusions?
I'll tell you through some examples:
During the study of classic effects, I found that the Cut and Restored
Rope was a wonderful trick that has been performed and enjoyed for
centuries. The magical impact it produces is very strong and it is one of
the effects that is always included in the repertoires of both professional
magicians and amateurs.
 But-and this is a big but-its magical construction has a weak p~int; in
fact, a very weak point. It's nothing less than the initial situation: The rope
has been cut in half. In the methods commonly used, the rope is never shown
clearly cut in half. The magician goes only as far as showing two little ends
of the alleged halves of the rope, held next to each other, which are then tied
together in order to display a rope with a knot in its middle. This is done in an
attempt to convince the spectators that the rope has 'been cut in half.
After some analysis, it became evident that a real proof that the rope
~
has been cut in half would be to show the two pieces at a distance·, ior
example, with one in each hand. If we were really to cut the rope in half
and then forgot to show the separated pieces, any magic friend seeing
this would undoubtedly indicate that oversight as something that strongly
undermines the conviction that the rope was cut in half. Remember the
insistence of Maestro Ascanio on the clarity of the initial situation.
I asked myself why an effect with such a grave weakness could have
such a magical impact. Then I remembered that, in almost all cultures
and their mythologies, the rope symbolizes life: Atropos, one of the three
Fates, cuts the thread of life in Greek and Roman mythology; in Indian
mythology the rope-life brings the heavens and earth together; in many
other cultures a circle of rope represents the circle of life.
The symbolism of the effect became evident: death and resurrection
the greatest, the most powerful of man's wishes, immortality. ' all an accidental death-the effect acquires an emotional impact of the
So that hidden symbolic meaning made spectators subconsciously
feel an immense pleasure, and this entirely subjugated the weakness
in the method. The spectators were not just passive witnesses. They
became, at times, spect-actors who cut the rope themselves and kept the
"resurrect e d" rope afterward, feeling the powerful magical impact of an
impossible wish fulfilled, realized, lived in the artistic reality.
And that experience, like many artistic experiences, was transmitted,
was felt at a subconscious level, metaphoric and symbolic. It didn't need
to enter the level of consciousness. Furthermore, it would probably be
experienced, if the symbolic meaning were verbalized by the magician, as
something pedagogical rather than artistic.
settle my own doubts about the truth of this understanding of
k and to make sure it wasn't just a mental construction of mine,
C ' .
t from reality, I thought of an artistic, practical experiment: What
d happen if the effect were the opposite? A rope clearly shown in one
appears to break in two. i
' I
effect would be very weak, and when the two pieres of the rope
;t
e handed out at the end of the trick, perhaps it wouldn be long before
of the spectators gave them back with the request, .'"Can you put it
k together?" They want to feel the hope of resurrection, not the painful
·dence of death.
The artistic intuition of magicians throughout the centuries has
evented the presentation of such an absurdity. 16 Remember what
openhauer observed: Intuition is the true and powerful means of
owledge for the artist.
From all this comes an observation I've felt, both as a performer and
a spectator of magic: The effect is far superior when the rope is cut
the magician with a large pair of scissors, compared to a mimed snip
the fingers simulating scissors. If to that you add the simulation of an
,accidental cut, one made by a spectator and apparently unwanted by you,
which you appear scared by the misunderstanding, which results in
doubly dramatic situation, a conscious drama plus symbolic drama-in
'
highest degree.
Fortune (the vague Borgesian chance) granted me a book I've always
been a reader of the great Romanian historian of religion, Mircea Eliade.
His Mephistopheles and the Androgyne fell into my hands, and in it is an
essay on the Indian Rope Trick In this legendary effect, a yogi or fakir
throws a long rope into the air. The rope becomes rigid and a child climbs
it, pursued by a man with a knife. He eventually catches the boy and cuts
him to pieces. The parts of the boy's body fall to the ground, but the yogi
restores the child and brings him back to life.
16. Even though this reverse effect appears in an early magic book, it never caught
on with magicians. I have never seen it done.
 symbolic explanation came once more to my rescue. The selected
In Eliade's essay, the rope was identified, through symbolism, Wi
er having been lost in the deck, rises (ascension); ends up on top
life. Furthermore, it became evident that what had given this magic effect
others (power); loose, not trapped (liberation); and in view, not ()
its great impact and legendary status-even though it has probably never
d anonymous among the others (individualization). iThe fulfillment
been seen or performed-resides in its symbolism: rope-life, a union of
e four wishes, reaching us via symbolism, afford~ the trick mas-
earth and heaven. Let's remember, in the simplest version of the effect, it's
We love it, we ·enjoy it, and that's why we want to experience
only a rope the yogi throws into the air. The rope becomes rigid, the child
, to feel again and again the great inner satisfac~ion, the joy, the
climbs and eventually disappears at the top; heaven in its physical and
symbolic shape. Even though the Cut and Restored Rope doesn't appear and the overall fascination.
then carried out more tests, this time in performance. If the card doesn't
in this trick-legend, Eliade found that its appeal and magical impact lay 1
but rather descends, the reaction is not even a tenth as great. Perhaps, I
in the existence of a symbol. That symbol was the rope-life, union of
t, when the card descends, it remains hidden and very near the hand
heaven and earth, of reality and the beyond. And if I had reached a similar
magician. Maybe that diminishes the clarity of the effect. So I next
conclusion to his-discovering the impact and symbolism of a magical
performing the standard Ambitious Card effect, making the card rise
effect-even though his starting point (sociological) was different from
the center to the top of the deck but while holding the deck in a ver-
mine (artistic), I thought I could congratulate myself for being in excellent
position. The physical impossibility is exactly the same, the card ends
intellectual company. Of course, my conclusion came much later than the
the same place, with equal clarity; yet a great part of its charm is lost.
great Eliade's.
you try performing it for yourself, you will see that it doesn't look nearly
Another example of how I reached this belief is the Ambitious Card.
good. Of course! Because there is no position of power, no ascension, no
Being an unquestionable classic and one of the essential tricks in the
sation of freedom. The card goes from one position to another, but it's
repertoire of any professional card magician, it also has a very weak
one more card in the deck. Even its resulting position is ambiguous: it
point. In this case it wasn't the initial situation but rather the effect
itself. If I were to say that a magician made a signed card travel to his be perceived as lying in front or behind, first or last.
A third example: For years, I performed another classic among the
pocket, or that he changed the identity of a card in my own hand, the
classics, the Egg Bag. I used a bag made of black cloth in the style of
listener would be amazed at both of these narrated impossibilities. But
Malini, and with it I achieved the success this wonderful trick_ usually pro-
if I were to tell him instead that the magician made the card move a few
duces. Then one day I lost my bag. Months later, I attended a lecture of
positions in the deck (twenty, twenty-six cards, half an inch-it makes
the ,...creative Sam Berland. He performed a trick with a bag and a watch.
no difference) while he held it in his hands, the listener, aware of the
The bag was gimmicked in a similar way to the egg bag, but the effect
magician's skill, would probably remain politely indifferent to the "little
different. I bought it to replace my lost bag, but when I worked with
miracle". And yet we all know that the effect produced by the Ambitious
I
it, making the egg appear and disappear-same effect, same routine-I
Card is very strong, and that spectators request that it be repeated. In
noticed I and my spectators liked it less. Something was not clicking,
some routines, such as Vernon's, with its wonderful emotional structure
'
the effect can be repeated ten times! It is a weak, almost mediocre effect something was wrong.
One day I figured it out: Berland's bag was made from a Scotch-plaid
that everyone, magicians and laymen, like and savor to the maximum.
cloth. If the trick symbolizes (can there be any doubt?) the creation of
How can you explain that?
 life, then the black symbolizes the mother's womb where th \.
. . e miracle
creat10n 1s developed. A Scotch-plaid womb? After that, I went ba
Mr ., bl ck
a m1 s ack bag, and my and the spectators' liking for the trick w
back But the symbolism goes further. All the versions of the Egg Bag
with the appearance of the egg (creation or resurrection) after its dis:
pearance (the void, death). That must be for a reason.
That's. why it's necessary, artistically speak1ng, to do it with an eg
and not with a wooden ball or any other object It would lose the 1· . ) and reappearance (resurrection) that are always part of the com-
· mp11ci
symbolism, and the effect would be weakened. It would sacrifice emo-
tional content.
But one might think: Yes, the effect would be weaker but not because
~f the !oss of the alleged symbolism. The cause would be because the egg
is fraglle, and ha~dling it without breaking it, while hitting and crumpling
the bag to prove 1t empty, seems nearly impossible. Doing so while con-
cealing an egg inside the bag carries serious risk of a disastrous result: If
the egg breaks, the bag and the magician's hands will be a mess.
It's a good point, I admit. But what if the trick were done with a hea
lead ball? That would be much more difficult to conceal. Or what if the tri:
were done with a thin, glass light bulb? That is even more fragile than the
egg and more dangerous, should it break The magician's hands might be cut.
If anyone wants to try performing these ideas with a lead ball or a light
bulb, I'll bet that, although the trick will be effective, it will lose a signifi-
cant amount of the charm and fascination generated by the classic trick:
the production of the egg (the creation of life), which then disappears
(death), then triumphantly reappears (resurrection, renaissance). I finish
by cracking the egg into a glass-it's real!
There is a reason why this is still the classic version, the one that
has survived through the centuries, outlasting the other early version as
I )
presented by Fawkes and others, in which many eggs, then a hen, were
produced from a large bag. In that version, there was only the symbol-
ism of creation, and the number of eggs became more important than
the symbolism. From the sixteenth through the eighteenth centuries this
. '
vers10n was often presented at rural fairs. In those more agrarian times,
ction. symbolized the creation of abundant food from nothing,
ve that's how it was experienced: two dozen eggs and a hen
empty bag! That meaning hasn't the same resonance for modem
es. Eggs have become cheap, and a hen amazes above all for its
and the difficulty of concealing and handling it tithout telltale
ents and clucking. ·Because the hen is alive, we feel the creation
(eggs: symbol; hen: reality), but we do not have the disappearance
g Bag routine today.
en came to me the revelation, in flashes, of the symbol of so many
tricks, some more evident than others.
Linking Rings: To magically undo a chain of metal rings is an act of
ation. What would the effect be like if done with wooden rings, no mat-
how thick and solid they were? What if it were done with metal squares?
test proposed, imagined or real: Show two loose rings. Link them
cally. Hand them out and wait. When the spectators return the rings,
't you hear them ask if you can unlink them, separate them, release
from each other? You now show the two linked rings. You unlink
em magically and hand them out separated, free. And wait. Wait. Wait ....
u can wait forever; you will probably never hear anyone say, "Can you
kthem again?" We want to be free, not chained.
If I am right in regard to the symbolism of this trick, every routine should
not with the striking image of a chain of rings, all linked together, but
less dramatic image, totally faithful to human desire and symbol,
the rings loose, representing liberation. The artistic intuition of magi-
through the centuries has worked once again. I studied all the classic
routines, from Odin to Slydini, from Farelli to Vernon, and they all end with
the chain undone, with the rings separated, with the dreamed freedom. We
like to feel that the chains are broken. In Slydini's wonderful routine, the
unlinked rings are thrown into the air and fall to roll loose and haphaz-
ardly around the stage. Can there be a better, more artistic way to show the
destruction of a chain, the beautiful sensation of total liberation?17
17. "Down with chains!" has always being the quintessential exclamation of freedom.
 78
In the Coin Assembly we have the reunion of four coins placed int
four comers of an imaginary square. Why four? Assemblies have alwa
been done with four elements: four Aces (of course, since there are
0
four!), but also four sugar cubes, four little cones, four coins. Not five. N
three. Does it have anything to do with the universal metaphysical SYmb
of the reunion of the four elements? Four elements, four cardinal points
the four winds, the four ages of man .... 18
But after further thought I wondered if this eagerness to look :'beyonctn'
is merely midnight fantasizing. Does it really point to a deeper truth?
Let's check: If we did a Coin Assembly with five coins, laid out in the
form of a pentagon or in a square with the fifth coin in the center, the
effect would not have the same charm. Why? What if it were done with
three coins, in a "divine" triangle? No! The effect would be too brief- for
looking past symbolism, there is a reason of dramatic structure that' dic-'
tates the use of four coins. Although four coins are brought together, there
are only three magical translocations, and we know how a structure of
three is so attuned to life (pim, pam, pum) and to art (toe, toc ... tocotoc).
So it may be that the insistence on four coins is only to exercise the reso-
nance of coins magically traveling three times, and has nothing to do with
the four elements or any other symbols.
We can keep the number at three by using only three coins and leaving
the fourth comer of our imaginary square empty, to serve as the place
where the three coins assemble. But once again, the effect is weakened.
Try it for yourself. In this case, there is no reunion of four elements and
the symbolism is evidently lost.
Let's remember Empedocles's observation that the reunion of the four
elements is equivalent to the sensation of cosmic union (love), and their
later and cyclical separation to that of a break-up (hatred). 19 Therefore,
18. Luis Garcia first suggested to me the idea of the metaphoric value of the
effect of the reunion of four objects (the four Aces) implying the reunion of
the four elements.
19. This explains, too, why the Reverse Assembly-the separation of the four
coins that have gathered, the separation of the four elements, whether they be
79
practice is to use four and only four coins, which is what the
and artistic attitude of magicians through the centuries have
ed. Once again, my analysis consisted of recognizing the path
traveling it, to reach the same point that the intuition of artistic
s had long known. I
companying these ·examples, I had a disquieting /sensation when
ht of certain magical effects that had been veryrpopular but are
g ' .
seen in today's repertoires, such as the Miser's Dream or the magi-
iconic production of a rabbit from a hat.
That continuous and inexhaustible production of coins from the air or
spectators' ears was enormously popular, having T. Nelson Downs
its supreme exponent-until the 1950s. Obviously the production of
y from the air, caught at the fingertips, fulfills a desire in a great num-
of men and women. To watch someone who has that power satisfies
and evokes admiration.
Frakson's idea of depositing the coins in a champagne bucket to amplify
noise of their arrival made the effect more dramatic, although it may be
t the older use of the magician's hat (with a plate inside to dramatize the
und of the coins as they fell) contributed a more personal touch.
That aside, I gradually began to understand-or to believe I did-that
gold coin, in past centuries, was worth a considerable amount, 20 maybe
a month's salary. Therefore, the production of dozens of such coins could
make you rich. But with the increasing use of paper currency and the
;continuous devaluation of money, coins are now regarded only as "loose
change". Today, producing dozens of coins seems important only to chil-
dren, to whom they are like bags of candy. So, despite its inherent meaning,
the'\effect has become noticeably diminished, and the trick has gradually
lost its capacity to excite. It has been humbled to a demonstration of mag-
ical skill, always surprising but lacking symbolic power, appealing to the
coins or Aces-has so little magical strength. It barely affects the spectators,
and it is often presented as a mere embellishment of a direct assembly or,
when performing for magicians, as something novel.
20. The symbol here is the evidence.
 desires only of children (note that Flosso used ~.....,u,_,,_,,.__,..._. as particip\ ant
s,
does Jeff McBride) and of the very poor and unfortunate. Yet the symbou
value of inexhaustible creation from nothing remains.
. On the other hand, the production of a rabbit out of a hat, when Pre
sented at country fairs and in times of hunger, represented food for on
even several, days. Whoever had the gift of making rabbits appear from
hat had his daily nourishment assured.
Once magic entered theaters and parlors, middle-class audiences felt·
the lack of certain things in their lives, but their basic needs were satis-
fied. Hunger was not a problem. The decline of the Rabbit from Hat thus
becomes comprehensible. Nowadays, the little rabbit produces maternal
instincts and tenderness, especially in children, for whom it continues to
be a wonderful and fascinating trick 21
The examples above raise certain considerations: Magic is an art that
fulfills the impossible wishes of human beings within an artistic reality.
Those impossible wishes may change with time or circumstance. What,
for instance, would be the effect of the Okito Floating Ball done in an
orbiting space craft? (I am writing this in 2015.)
A reduced metaphoric or evident value, and a direct devaluation of
symbolic value, are both felt by the magician and his audience as a loss in
his magical power. Consequently, his fascination decreases, leaving only
the residual value of the impossible and the surprising (which is not neg-
ligible but is also not great).
If the magical effect more robustly expresses the power of the symbol
metaphorically, it produces a better emotional experience and a greater
degree of fascination in the spectators; and it is also felt intuitively by
magical artist himself.
21. On the other hand, in the origin of the trick, said to be based on the popularity
of the story of Mary Tofts, who in 1726 claimed to give birth to several live rab-
bits, the trick possessed a sense of the creation of life, which I believe it hasn't
entirely lost. See Edwin A. Dawes's exhaustive analysis of the Tofts story in
A Rich Cabinet of Magical Curiosities, Parts 1 and 2, 2010, Peter Scarlett
Magic, pp. 646-54.
beliefs and feelings of mine convince me that tricks become
and remain classics due to the factors I outlined earlier but also
of their symbolic and metaphoric power. And remember here
n
· trinsic pa:rt of the symbol is its ability to be polyvalent: It can
m ,
es have several meanings, even contradictory onys. This can be
any mythology. Hermes-Mercury is the god of my~tery and at the
time of commerce. The night can symbolize poetry, but also death
sun), etc.
This means tha,t a single magical effect can symbolize different things.
must bear that in mind. We are not practicing an exact science.
A new question .arises now: Do the magician and the audience need to
conscious of the implicit symbol in the effect to feel and enjoy the magic?
I don't think an audience needs to be consciously aware of the symbol
bodied in the magical effect; we are talking about art, not philosophy.
more than enough if spectators perceive the symbol, feel it, through
ir artistic sensitivity, subconsciously. That will of course depend largely
each spectator's sensitivity and intuition. But this is true of all the arts.
thout a sensitivity for painting, we could perceive a painted image as
cold and simple representation of a landscape, a situation or a person,
'thout it moving us or touching us. In magic, I believe that, aside from
e playful capacity in spectators, related in some way to their attitude
,;toward wonder, we should add the facility, or lack thereof, to let their
''inner child" emerge and live, the capacity of their well-structured rea-
son, their anxiety or taste for mystery, their eagerness for adventure; and
· we must not forget their intuition for capturing the deep and polyvalent
·• Significance of the symbol or symbols that fulfill, subconsciously, their
impossible wishes, the dreamed wishes of mankind.
As far as the magician is concerned, I don't think it does any harm
for him to be conscious of the symbolism of his magic, since feeling it
internally can make his interpretation more sensitive, more suggestive.
Suggestion and sensitivity are virtues of any art. We'll leave "demon-
stration" to science, "profundity" to philosophy and "transformation of
knowledge" to pedagogy.
 Awareness of implicit symbolism can also help the magician to av ese lists as an intellectual game. Complete them and transform
spoiling it or fighting it. If I know that the symbolism of the Egg Bag ·king Or you can ignore them, even close this book, and con-
~m l1 . . .
the creation of life-or perhaps rebirth, when the egg reappears after true artistic enjoyment that includes thinking about, rehearsmg, n
disappearance ( death)-why exchange the egg for a lemon, a lead ball experiencing and then bringing others to experience, through
a light bulb, even though those are more visual, heavy, fragile, dangero ances and presentations, the beautiful, impossiblr, dreamed and
or difficult to conceal than the egg? ing effects that constitute our wonderful art of m<\1,gic.
Does the fact that the effect has been done for centuries with an e
mean that magicians have been aware of its symbolism, which is why th
haven't changed it for another object? I don't think so. Rather, I believ
that the artistic intuition of magicians has led them to esteem the effec
more highly when it is done with an egg, due perhaps to a subconscious
sense of its symbolism. There is also a factor of Darwinian development
an evolution common to all arts and to cultures. Magicians have tried per-
'
forming the effect with a lemon, with a crystal cup, a Ping-Pong ball. I
have seen their attempts. But all those versions faded away, because they
weren't as successful as the original version with the egg, which transmits
the beautiful symbol of the creation and re-creation of life.
Magic is an art that deals with reason and intuition. After all, the afore-
mentioned sensitivity to the wonderful depends to a high degree on the
undefined intuition that symbolically makes us feel the dreamed wish.
The true beauty of magic doesn't lie, or perhaps just lie, in graceful
execution; or in staging; or in the aesthetics of decoration, lighting and
costumes; or in the comedy or poetry of the patter. It is rather a com~
bination of the logical impossibility of the effect with the fascination it
produces. Above all, it grants and fulfills the experience of an impossible
dreamed wish, making it feel possible. And that sensation often comes to
us in metaphoric form, through implicit symbolism.
Should it be of interest, suffering and friendly reader, in Appendices 2
and 3 you will :firtd a detailed history of my comprehension of the value
of the symbolic way, as well as some lists, more or less subjective and
more or less complete, sketches really, of the desires of mankind and of
some symbols that might be contained in some of the most frequently per-
formed tricks and effects, among which are most of the classics. Please
 AN EXAMPLE OF A PRACTlCAL APPL1CAT10N
OF THE THEORY OF SYMBOLlC MAGlC

The Magic of the Spheres

Written and published in 1984 in the Circular of the Escuela
Magica de Madrid, the following mini-essay is an attempt to
apply the knowledge of the symbolic value of magic to a spe-
cific case: the Multiplying Balls. Playing with freeing the mind,
I begin with ideas and down-to-earth "advice" iforgive the arro-
.gance) that I chose not to censor, to later elevate myself in an
aerostatic trip (in a spherical globe, of course) to the region of
metaphor and symbol. I hereby transcribe:
"\
I remember the beautiful multiplying-balls routine, done with white balls,
presented by the superb Pepe Carrol as part of his act "The Four Seasons".
He began it by picking up some snow and kneading it into a ball that mate-
rialized in his hands. Then the one multiplied to thirteen snowballs, as the
music of Vivaldi ( of course!) played.
I did a multiplying-ball routine myself when I started in magic. The balls
always attracted me in a special way: their shape (the beautiful sphere),
86
the life they acquire as they rotate through the fingers, and undoubte
their symbolism.
Here are some ideas drawn from the experience of those years
from ~dvice r~ceived, both spoken and written. I'll begin with some Pure
practical details, and then interlace them with other ideas and . surprised by the color change, or seem doubtful a9out the produc-
. cons1de
at10ns, some logical, some crazy, in a sort of personal brainstorm. I'll te
them to you and to myself (I am aware that some are obvious).
1. Use hand cream for dry hands.
2. Wherever it is permitted, use a cigarette and smoke it for mi·sd·
. irec-
tion, naturalness of the hand when palming something, and use of
the smoke to make productions more magical, etc.
3. Combine sequences with and without a shell (thanks, Buatier de
Kolta!). Very deceptive. Consider using a double shell-one fits
inside the other and pivots to close into a complete ball, thanks to
gravity-an excellent gimmick, almost forgotten today. Two shells
properly handled and cleverly used are a deadly weapon.
4. ~truc~e a routine with a single accumulative effect (multiplication),
rncluding details to escape monotony. In another routine ( or part of
the same one), look for diversity of effects: color changes, increases in
size, ball to silk, endless production from mouth or silk, ball through
silk, etc. Create variety in effect without losing u:n:ifonnity.
5. Combine balls and other props in this second type ( or phase) of
routine: silk, hat, wand, rope, ribbons, cards ...
6. Regarding color changes with the balls, you can find my thoughts
in my book Magicolor discussing contrast, misdirection, visual
quality, aesthetics, psychology, etc.
7. Practice with somewhat larger balls than those you are going to
use. And practice without hand cream. The real performances
will then be easier. Do the riskiest and most difficult moves in
rehearsal. Practice at a faster pace. Execute the routine while
talking to someone or watching TV. Go through the motions only,
without props. Rehearse mentally in the subway, on the beach, in
bed. Practice to make all gestures and movements second nature
'
87
until the routine happens by itself, but avoid over-practice, the
oint at which you don't feel what you're doing: You do it because
p .
you can, but it becomes boring.
And then perform it as if you were doing it for tl\e first time. Be
tion, or anxious about the vanish, or feel fear at t~e inexhaustible
multiplication, or enjoy the effect achieved with the risky flourish
that succeeded, etc. 22
The Theory of the Little Monkeys (p. 365): Talk to the balls, get to
know them individually, paint them yourself to make them more
personal: the playful ball, the serious one, the restless one that
always slips away, the lazy ball that no one can move, the bashful
one that blushes when you talk to it (Thank you, Frakson!). Talk
to them during rehearsal and in performance. Communicate with
them mentally, ask them for help, get upset with them, thank them
for their collaboration.
10. Don't overdo one single flourish (the ball roll) unless you master
it to a high degree and can do it with an attractive excellence or
speed. Instead, sprinkle the routine with varied flourishes: slipping
over the fingers, throwing and catching between fingers in front of
you and behind your back, rolling between the forefingers, making
two balls rise from the palms to the fingertips, etc.
11. Also add some semi-magical flourishes here and there: balancing
a ball on the brim of your hat, or on a rope, or over the edge of a
silk, or floating a ball, propelling a ball (by a hidden rubber band),
or spinning one on a fingertip or while balanced on another ball ...
"'12. Front loads. Remember the wonderful teaching of Frakson. Watch
Kaps, Frakson and Calvert over and over on video. Aim for an inde-
tectable, safe, automatic, unsuspected technique; don't stop until
you achieve perfect technique (which will never happen, except
for Ascanio).
22. Study the beauty of this kind of approach to ball manipulation in the lyrical
writings of Jacques Delord, especially his books.
 13. Topit!
14. Pull!
15. Jack Miller's Holdout.
16. Blu Tack.
17. Threads!
18. And the ten assistants!!!
_19. Above all, on top of everything else, your head (as round as the
balls and, let's hope, not m~de of wood).
20. Angles. Practice with friends, with critics, with video. A good
example is the routine described in Mosaico Magico by the great
Roden from Argentina, which is streamlined for special conditions
like parlor and stage.
21. Outs: Shoe with Blu Tack in the arch of the sole to pick up dropped
balls. Extra balls to load when balls are dropped. Elegant kick
(with the heel?). Cane production and using it to hit a ball on the
floor as with a golf club, and sneak it into a top hat conveniently
placed on the floor. Cane with Blu Tack, etc. Think · meditate
'
imagine, foresee, mentally improvise, express horror (comically
'
exaggerated), charisma. Pick up the ball from the floor with sur-
reptitious actions, as if trying to avoid being seen (looking in the
wings first, then winking at the audience in complicity). Think,
think, think, trick, trick, trick Relaxed and loose: attempting to
achieve mastery.
22. Study or at least get acquainted with what the minds of other cre-
ators have achieved, the history of ball manipulation: Buatier de
Kolta, David Devant, Clement de Lyon, Roden, Martinez Muro,
Adrio, Gamar, Hausson, Ron MacMillan, Geoffrey Buckingham,
Edward Victor, Richard Ross, Peter Marvey, Peter Gloviczki,
Norbert Ferre ....
23. Search, think, imagine, reason and figure out why magic with
balls has been done and is done. Beginnings of flourishes and
small manipulations with billiard balls in English billiard rooms.
(David Devant and others before him.) Do they respond to some
wish? Play with the sphere? Do balls represent planets? Magic of
the spheres? Symbol of creation: the appearance and multiplica-
tion of planets and stars? Sphere = ball = world? Sphere: infinite
and one? Creation of life, reproduction of cells, ?f the primitive
egg? Multiplicity _in the unit (pre-Socratic)? Sp/here = whole?
Man in paradise, androgynous and spherical (Pl~to and the ban-
quet), because "the sphere is the image of totalitJ" and perfection"
(Cirlot's Dictionary of Symbols). The eroticism of spherical and
round shapes? Breasts, buttocks, balls, the sensuality of curves?
Perhaps the geometrical perfection and undeniable beauty of the
sphere are attractive in and of themselves? Evocation of nature
(most fruits are spherical)? Micro- and macrocosms; atoms and
suns? The alchemic egg, the alchemist's rotundus?
24. Look for presentations that suggest, are connected to or involve
two or more of the ideas mentioned above (billiards, planets,
alchemy, geometry, geomancy, sensuality... ). Be aware of the huge
magical power (the naturally inherent power) of these extremely
beautiful, mysterious and unique objects, the spheres.
25. Experiment with different materials. Combine them. Or choose
the one that is best adapted to the techniques and symbolic sub-
ject: wood, marble, rubber, crystal, sponge, cloth, plastic, celluloid,
cork, leather, soap bubbles, lead, steel. ... Do the same regarding
color, brilliance, touch, size, etc. Opaque, with sequins, black in
front of a white handkerchief and suit (demoniac), w:hite in front
of a black suit and handkerchief (purity), of fire like the sun, of
rubber like balloons, of Blu Tack, with colored wedges, balls as
little world globes, bright as stars, silvery like the magic, green
or red as fruit, soft, rough, flat, fragile, light, heavy, with drawings
of faces, of planets, with numbers on them, with small letters,
medium, large, huge or tiny....
26. Role of the manipulator and of the balls: Do we control the balls?
Do they rule us? Are they magical? Are they annoying? Do they
revel? Do they obey us? Are they aggressive? Do they escape, slip
90
away or want to go? Why do they turn? When do they tum? Whe
do they change color, shape, size, material or relative positions ·
the hands? And why? What do these changes make the manipula
tor feel? Is he a magician? Does he master his magic?
27. New ideas, new effects:
a) Elastic ball.
b) Eyeballs. Iris changes color: Hazel eyes turn green, then black
then blue (but never surpass the beauty of those of the author'
of this book).
c) Fireballs.
d) Broken; disintegrated and restored.
e) Fusion of two into one, of several into one, at once or gradu-
ally; of two colors into a bi-colored ball, a lemon plus a tomato
equals a tangerine or a small orange; separation of the colors in ·
a mixed color (blue and yellow from green).
f) Rainbow: A white ball multiplies, or seven colors emerge from
it. Every one turns into a fruit of that color: plum, apple, lime,
lemon, orange ... and all meld into a white egg.
g) Ball to storm of little balls.
h) Ball to cane knob, comes and goes (this effect has been done).
i) Gas or smoke condensed into a solid ball. Ball to water foun-
tain or transformed into a liquid ( cherry wine, for example), it
flows to fill a small glass. Cheers!
j) Impossible balancing of two or three balls to form a little spinning
tower, all rotating in the same direction or in opposite directions.
k) A fortune-telling ball that speaks, or answers questions with
little bounces, turns or movements.
1) A ball that goes up a ramp, or goes up and down, up a cane,
down a cane. A ball that falls to the floor, and then climbs up
your leg to your hand, or rises inside your sleeve.
m) A ball that spins around another ball on a crystal table or, bet-
ter, in the air. Planetary: a sun ball that is luminous, a moon ball
that waxes from new moon to full moon.
91
:n) A Ping-Pong ball to golf ball, to billiard ball, to petanque ball, to
bowling ball, to soccer ball ....
) A crazy ball that makes strange rotations on the palm or on a
0
transparent table. Its path is mentally controll~d by the magi-
cian with verbal commands: Stop! Turn! Continpe!
p) Ohl-a surprise· in the routine. '
q) A bomb ball: final explosion of one, of all, a chain reaction.
r) A ball transforms into smoke of the same color.
s) Balls on a board decorated as a music stave. Each ball is a
musical note that makes the appropriate sound. To finish, the
magician plays a melody by touching the balls.
t) A weightless ball that suddenly becomes heavy and falls on a
spectator's hand.
u) A black hole that engulfs everything and makes it disappear.
v) A lead ball to feather ball. It elevates-a balloon-disappears.
w) "Magnetic" crystal balls. They stick to the hands, to the face.
x) Sexiballogy. Wow!
y) Buatier de Kolta's "Expanding Die" done with a ball: from little
ball to huge ball with the production of a person inside. Extreme:
to a ball the size of the world and we all come out of it.
z) Zzzzz! Don't fall asleep, man! Wake up, woman! Let's think,
think, think, have fun, enjoy and obtain the maximum pleasure
with these ideas and with others that occur to you, old and new,
from the wonderful magic of the balls, the magic of ~he spheres.
 92
A Study of a Truly Magical Effect: ''El Cochecito"
"Can you do the trick with the little car.
"Did you bring the little car.
I have heard those questions, and other similar ones, hundreds of tim
over the past forty years. When, in 1971, Albert Charra excited emotions
me as I watched a red, wooden, toy car stop when someone tried to pus
it farther, I felt the urge to try pushing it myself-and when I did, what
incredible sensation! The wise little car refused to continue, indicatin
to me where the chosen card rested. What true wonder that memory sti
produces in me. Infinite thanks to Dick Koomwinder, its creator!
That's the sensation I've attempted to transmit ever since with this
trick Year after year I've added psychological subtleties, details in pre-
sentation, applied the Method of False Solutions and The Magic Way,
sometimes combining these with Morlas's transparent car.
But let's analyze: What does this trick have to make it one of the most
fascinating, one of the most memorable (ask any professional), one of the
most magical?
To begin with, there is an extremely clever secret, of course! If the Cavern
of the Secret had an easy entrance, that would prevent us from continuing
along The Magic Way. After the first effect, the spectator could think of magnets
or stooges. But there are no magnets or stooges! The attitude and reactions of
the various people who push the car stop the false solution of stooges. And
of the selection. And the effect possesses symbolic value ( childhood recov-
even on Tv, even for TV viewers, the possibility of examining the table or of
;red, animation of objects); it's mythical, beautiful and very po':"erful.
using a transparent tabletop stops the false solution of magnets. Further, is
there anything on the card, filings or something? No, because he handed me
wooden car, an authentic toy that returns us to childhood, that clearly makes
the deck and asked me to remove any card-and the car stops when passing
us fe~l the innocent, imaginative, playful child that still lives within us. 23
near or far or on top of the card-I'll continue along The Magic Way.
So there are nb magnets, no threads, no stooges. The spectator can go
directly to the effect: The Magic Way leads him and he enters and-what
does he find? The effect, The Rainbow.
We can see that the effect produced is one of the strongest in magic:
animation; giving a soul, giving life, to objects that don't possess it, to
),
93
. ts • That's as close as it gets to creation. Creating something
obJeC . ,,
. d·
thing, goo , and then giving it life and soul! And "El Cochecito
.
·
ouble amma tion ' one that reaches
- us visually and tactilely, .and
that reaches· us intellectually and conceptually. We see the little
1 , •
and, in the best of cases, we tactilely feel that wf cant make it
farther, no m atter how
· hard we push with our finger. On the other
,i
· i·ntelligent· No matter who pushes it, it stops
the car is · exactly over
front of the Chosen card' no matter how· much we shuffle. the deck,
er how muCh W e change the location of the selectmn on the table
ong the other cards, even with their faces hidden. It knows what
selecte d card is and always knows where it is. It knows more than the
tators themselves , who chose it but don't know its location (the cards
6huffled face down during the last phase of the trick). It knows more
the magician,
· · who doesn't know its location either-or its identity!
little car, now alive, is more than intelligent. It's wise. It's psychic!
So the effect is one of animation and the creation of intelligent life~
re than intelligent. A little toy car with a life of its own, wise and psychic!
Koomwinder's little car also complies, needless to say, with the con-
ons we discussed earlier that must be met for an effect to be good or a
sic: The effect is clear, direct and easily described (the car stops at the
cted card). It's a strong effect (the car recognizes the card and refuses
move). It's repetitive (the car stops over and over at the card). The secret
very clever and indetectable, and is strengthened by a good card control
Aside from that, consider how fascinating the object itself is! A little
See "Magic Is Only for Children" (p. 43). This is why I prefer doing the trick with
the wooden car rather than a transparent one. The latter is more of an object,
modem, ornamental. I did use the transparent car a long time ago, in certain
circumstances only: as a complementary resource in the middle phase of the
trick, or when the wooden one suffered a mechanical failure. That's how I used
it on the live-broadcast French TV show, Le plus grand cabaret du monde.
 The effect is full of fascination. It's equally amusing and puzzling. Th no .,_._.._,._,~~--., "I abandoned such an artistic mistake (and an
UU.J•'-'~~~.,

. al . switching the car served no purpose). Now, at the end of

car seems to rebel against us. We want it to move and it refuses. It's Wi nc one.
and knows more than we do. It's an effect that allows us to actually play. " . e hand out my beloved Koornwindered car so that people can,
1
tlll ' . . k' ·t
Cochecito" prolongs our excitement during the good seven minutes that go wish, look at it, talk to it, ask it something, touch 1t,. 1ss 1 •
by during the various repetitions. It has a perfect dramatic structure, like ,,,_~..-..-..
1
r 1v up: It is an authentic, artistic, magical, vital jpy!
detective story. The car locates the card by narrowing the field of possibili.::
ties more and more until one card is isolated and proved to be the selection.
The revelation happens exactly when the dramatic tension is at its peak:
Will it be it or won't it? This is totally memorable, because it has lasted a
sufficiently long time, because it has touched us and almost broken our logi-
cal core (it's impossible!), because it's emotional (suggesting the creation of
life) and because it's fascinating (recovering childhood with a toy).
It doesn't contain any complex moves; only a very good control or
glimpse of a very freely selected card, and careful, subtle handling of the
car in its preparation and the measurement of distances each time the effect
is repeated. But the trick needs to be presented by one of us, a magician-
illusionist-prestidigitator, to make the spectators feel the magic and not
simply to leave them searching for a solution to gimmicked apparatus. We
need to love the trick, to feel it ourselves as well, to enjoy and play with the
car, to fascinate and be fascinated by this beautiful and exciting magic trick. 24
By the way, this is a trick I prefer to do in the second half of a session,
when the minds of the spectators don't feel overwhelmed by the questions
of "how" regarding the logical solution, and when they have surrendered
completely to the magical and marvelous solution-when the logical part
of the brain surrenders (tired, defeated, asleep?) to the imaginative part.
For a time, at the end of the trick, I used to switch the "Koornwindered"
car for an ungimmicked duplicate I had made. I then handed this out for
examinati<;m. What a silly mistake! They took the car and touched
looked at it or kiss~d it, but they didn't search, even slightly, for trickery or
gimmickry. They wanted to continue enjoying the marvelous. Sometimes
I felt like asking them, "Make the car roll, look at it, check it out carefully.

24. For more comments on the emotions in this trick, see my DVD, Lessons in
Magic, Volume 2: "El Cochecito".
 MORE ABOUT EFFECT

The Fascinating Effect

ere I will discuss, in the form of a temporary summation, thoughts com-
nted on in the previous pages, but in more detail and occasionally with
~omewhat different approaches that enrich them and lead us to other
approaches that will be commented on later. This is, then, another relaxed
attempt to analyze the conditions that make an effect fascinating.
And let's remember that the effect is the only thing that. reaches the
audience. It's the effect it has on them. If the method is ingenious and sub-
tle, new and technically perfect, but the effect it produces is that of a clever
~

puzzle with a difficult solution, the whole is clearly incomplete, made so

by its base, its essence; because everything-psychology, misdirection,
synchronicity, opportunity, digital and body techniques, ultimately the
whole Magic Way-exists because of and for the effect, because of and
for The Rainbow.
Let's now look at some of the conditions that, in my opinion, help
achieve that magical fascination.
N 98
~
~ Impossible Miracle
~ Obviously, the first thing needed is a miraculous appearance. If this was
~ not limited to appearance, if it were a true miracle (if such a thing existed),
~ we wouldn't be in the domain of art but in that of religion and mysticism.
~
In other words, we require the Impossible. This is what we are try-
ing to achieve, with the help of all the elements n:i-entioned earlier. That's
what is specific to our art. An effect is magical because of its impossibility.
Therein lies the beginning of the authentic beauty of a magical effect: It
should be impossible, and the more impossible it is, the more beautiful
the more artistic, the more magical it will be. '
It should be astonishingly impossible. Its impossibility should trans-
port us to another dimension. It should be so strong, so powerful, that it
tears your logical structure apart, at least during the moment you receive
the magical impact, and perhaps also throughout the session and while its
echo lasts, inviting you to suspend your disbelief and dive into the magical
bubble-The Rainbow.
I think one can never insist enough on this point. The power of the
logical impossibility, I repeat, is the unique quality of our art. Without
it, without that requisite, we are not, I feel, in the domain of magic but
in those of other arts (whether they be mime, drama or dance). They
are as respectable, as desirable, as beautiful, but still they are not ours.
The logically impossible is as essential to our magic as music is to
opera. If the words are beautiful, if the script is dramatic, if the decora-
tion, lighting, costumes and performances are magnificent, none of this
matters if the music, the musical quality and its interpretation through
voice, choirs and orchestra are mediocre. As a potential receiver of the
beauty of the opera, I can't ignore the music to admire and enjoy the
other qualities. Only if the music is beautiful, and only then, can I take
another step and ~njoy the other qualities that, put at the service of
the music, have enhanced its beauty. So I stubbornly insist and repeat
again: The logical impossibility, the power of the impossible, is the
primary thing, the prior condition, for an effect to be magical. It's the
quintessence of our art.
99
scinating Miracle
ping in mind the previous poin_t, without forgetting it even for a
ment, without losing sight of it .. .is there anything else? Yes, a lot more, 0
elieve:
Fascinating emotion-:-The effect should touch me. It should not only
1
address my ability to reason but also my feelings. It should awaken or stir
;in me feelings through, always through, that logical impossibility. That
which makes me momentarily push aside the Bull of Logic and sets the
<Horse of Imagination free, to feel alive, joyful, happy to fly. And those
feelings, those emotions of the Winged Horse, should allow me to experi-
ence the beauty of the illogical impossibility, by now a logical possibility,
magical emotion, which is to say: fascination. 25
But how is this emotion achieved? How do you feed the Winged Horse
to give him the strength and the drive to fly? I can identify some elements
which, expressed succinctly, would be:
1) Fascinating patter-Well balanced, with the power of charm, vari-
ety in tone and expression. Improvisation. A connecting thread.
Voice technique.
2) Spoken presentation-Begin with a foreword, a promise of the
effect (magic-catalog style) that arouses interest, whether it con-
cerns the situation presented, the difficulty or the impossibility of
the goal, or some other element.
3) Interesting props-The objects used in the effect could contribute
interest in themselves: surrealistic, gifted with power, outrageous,
beautiful. ..
4') Creation of atmosphere-Tone of voice, words, spells, added ele-
ments, lighting, space. created through pantomime, a magic bubble,
etc. Dreamy atmosphere, unreal. Physically and psychologically joy-
ful. The atmosphere that would surround the realization of a miracle.
5) Suspension of disbelief-But not from the beginning, as in the the-
ater or movies. It should occur after the first stage, during which
25. In The Magic Way I explain this more clearly and thoroughly.
 the of Logic has attempted to comprehend and eventually b) Communication. Techniques. (The Five Points in Magic)
gives up. It is an anti-logical, pro-fascination battle. c) Truth and authenticity. Adapt these to the magic and the magi-
6) Opportunism-Performing the effect when it is really desired or cian. Patter is better when seasoned with facts and authentic
when it doesn't "bother" the spectators. Being announced, hav- stories.
ing sessions requested, avoiding breaking up a party to show our d) Depth and richness of the inner world. The performer.
tricks. Duration: always a little shorter than desired . e) Love. Love yourself. Love the spectators. Love what you do:
. 7) Challenge, Conflict-Careful handling of the elements of the chal- magic. The session as an act of love.
lenge, conflict between the security afforded to the spectator by his We will be looking at these thoughts and points in more depth in the
logical grid and our proposal. Be his guide in the insecure, slippery chapters to come.
but fascinating world of the magical. Help him in that time that he
can't control. Transform a chaotic lack of control into a voluntary
and joyful lack of control (in the style of a sexual orgasm).
8) Rhythm-Cadence, rhythmical structures, downbeats and upbeats,
changes of pace, crescendos, tempo, beat, pauses!
9) Dramagic structures-Curves of interest. The dramagic conflict: its
presentation and development. The dramagic climax. Tricks, rou-
tines, sessions, their structure.
I will enumerate three additional points that help make the effect
fascinating.
10) Beauty
a) Gestural, manipulative, body language and pantomime.
b) Visual.
c) Literary.
d) Musical.
e) Humor, irony, comedic situations, intellect.
11) The Search for Innocence-Childhood Recovered
a) Games and toys.
b) Playful things.
c) The pre-logical.
d) Magic paraphernalia.
e) Game situations. Roles.
12) The Magician-The Person
a) Energy. Emission and physical transmission. The solar plexus.
102
The Effect and the Secret Method (A Love Story)
Presentation and Approach
Se,cret method and effect, a couple in the magical triangle ( completed by
the personality of the magician-but that's another story).
The beauty of the method affects the effect ( or its perception by the
spectators) through the emotion the interpreter, the magician, feels and
produces.
If the secret method is elegant, beautiful, clever, intelligent, and if t~e
interpreter knows it and feels it in that way, he can recreate himself in it-
his intimate knowledge, his personal secret-and communicate, transmit
not the secret but the emotion of its beauty.
The inner happiness, the pleasure of the interpreter who knows and
loves how the miracle is being accomplished, will let itself be perceived;
and the spectators, without really knowing why, will feel immersed in that
contagious joy, an inner joy. The trick may be sad or dramatic, unsettling or
distressing; it makes no difference. It is all within the realm of art. The joy is
part of life and therefore part of reality-or of that thing we call reality-the
joy that emanates beauty. The effect is thus perceived as more beautiful.
Distancing
Simplistic methods, excessive trickery, flat ingeniousness, a clumsy or
sloppy structure lacking elegance; these things don't satisfy the interpre-
tive artist.
What can he transmit?
Yes, I know: Perhaps he's the only one who knows the flatness of the
method (marked cards, stooges, others).
Just him?
If he's a good interpreter, a good communicator of emotions and
experiences, if he is really an artist, how could he not transmit the dis-
comfort caused by the use of simplistic methods and ungainly tools to
achieve the effect?
And if he's a bad interpreter-what else matters?
103
r Distancings
es it can be just an excessive ~implicity in executing the method, a
. al simplicity26 that prevents the sensitive interpreter from acquir-
e t te of grace wherein his spirit vibrates and makes the spirit of
thats a •
spectators experiencing the miracle resonate.
It will lack the fire, the trembling beauty of myste,ry, the necessary
• Oh , that terrible and deceptive simplicity!
SJ.OU.
e are, occasionally, other dangers, not the least of which is an exces-
e self-complacency of the interpreter with the method, a method not
equately balanced with the effect perceived, with the beauty and impact
the effect: good effect, poor method.
The spectators, confused, can't really understand such complacency
the interpreter. They are outside and left cold, no longer wishing to
~company the interpreter-guide any further along The Magic Way that
will lead them to such plain and discolored semi-mystery, a gray substi-
tute for The Rainbow. 27
It is, then, appropriate to continue rendering maximum worship to His
Majesty, the Effect, but to have it served by good vassals (methods).
May it not be said, either, of the method what an anonymous poet sang
in memorable verses of The Poem of the Cid: "God! What a good vassal, if
•· he only had a good master!"
Encounter, Harmony, Symbiosis
Frqm lines and between the lines it begins to emerge (I hope, I wish):
the possible, although hard to achieve, coordinated dance between subtle
effect and method-king and vassal, in a democratically cheek-to-cheek
pirouette, tracing in an air of artistic representation the immense beauty
26. I am referring here to all techniques: of the hands, the body and psychology.
27. The opposite case-average effect, good method-is very different when
included in a lecture or a demonstration for fellow magicians. But that, if it
were art, would be another art.
N

of ~ystery, to the tempo of astonishment, with an air of impossibi)ity, th Variety in Effects

music of dreams and desires and words of cleverness inte111·ge
. ' , nee au
elegant, excited beauty-magic. "Please, t}Ot just card tricks. That's boring."
And Ole!
heard this and similar phrases said with the best of intentions by
. Written while flying over the equator, magicians. Advice from good friends regarding a future close-up
now in magical transition from autumn to s:pring, c session, or a future television show or series: "Not ~11 cards."
on the 10th ( and here already 11th) of October 1997 Variety-that seems to be the magic word, the final objective of such
during hours repeated or lengthened' ·ce and comments, based on a laudable wish that the audience not
while traveling from east to west- me bored.
thus in a magical time. Variety-and in its name a manipulator is followed by a stage-illusion
then by a comedy magician, etc.
Variety-and in its name a card trick, two coin tricks, one trick with
·ves and three with ropes.
Variety-and in its name two vanishes, one color change and a multi-
cation to conclude .
.Although not totally opposed to this idea, I'll express my thoughts,

Variety, yes-but a variety of emotions.

Variety, yes-but uniform. Not inconsistent. Not a mosaic.
Variety, yes-but within the essential in every work of art. Within the unit.
I'll explain. There is no variety, for me, in a session only because it
begins with cards, continues with coins and ends with ropes. Because, if
the card trick is a color-changing deck, the silver coins change to copper,
andthe ropes are magically dyed, the sensation for the audience will be
of monotony.
The same happens in certain manipulation acts in which the magician
,,,.
makes a ball become two balls and continues to produce eight; he then
makes a thimble tum into two thimbles, progressing to ten; and then pro-
duces some cards, which he multiplies at his fingertips.
True variety, I insist, lies in the types of emotions you convey, rather
than in the props, as long as the requirement of a stylistic unity is fulfilled.
For example-and here I will exaggerate greatly to make my point-
let's say a session begins with the production of a deck of cards and
N
continues with one or two routines in which spectators participate
the cards traveling from one person to another or assembling in some~
one's hands; then comes a Rising Cards effect, after which the cards are
transformed several times at the fingertips ( color changes); then some
flourishes are performed, including card spreads, fans and fancy cuts With
multiple packets; then a little car, pushed by a spectator's finger, stops
repeatedly at a chosen card; then two cards are predicted, followed by the
divination of cards in packets held by three spectators; and the set closes
with a gag divination involving thought projection using an eggbeater and
the whole audience yelling the name of the card to the astonished person
who chose it, he unaware that it is being shown to everyone behind his
back. This session (one of many the huge variety of effects with cards
makes possible) will be infinitely more varied than the ones we just men-
tioned, consisting of only productions and multiplications.
Needless to say, this variety of effects produces a variety of emotions
that, without a doubt, would better be integrated into a unity: a harmony
of props and an accordance of style governed by the personality of the
magician. It doesn't matter if Rene Lavand does the card transformations
of his "Pygmalion" routine or continues with the travels of "Perhaps,
Some Day"; there will always be the unity of that extremely beautiful and
impressive style that Rene imparts to his effects.
And that unity of style and personality should always be carefully
respected, even if you choose to open the session with a gag. After the
humorous introduction, you can continue with impossible translocations,
then visual effects, demonstrations of skill (card juggling and flourishes)
and finish with mental effects, wrapping them up with a comic end-
ing, the humor relating in its emotion to that in the introductory effect.
Respecting unity here consists of maintaining the personality (the stron-
ger the personality, the easier this is) and preserving the style (we can do
a comedy effect, a mental effect and a visual effect without altering or
losing the style).
Naturally, that variety of effects will produce a variety of emotions in
the spectators: amazement at the skillful flourishes, mystery invoked by
ental effects, astonishment· and charm induced by others, shared
e and laughs while playing and feeling part of a group in the egg-
er gag and in its final "choir". - (')
We should strive carefully for such variety, yet maintain an orderly
· n of emotions and avoid jumping haphazardly from one emo-
gress10 . ! . .
r Such erratic changes would create a sen.se of confus10n m
nto anothe ·
spectators. I believe a spectator should know, consfiously or subcon-
the nature of what he is watching and the emotion he is sharing
1
usY,
'th the rest of the audience.
It wouldn't make sense to open with a mental effect, follow it with a
ual one, go back to mind reading, then do a comic effect, then a visual
e, followed by a demonstration of skill, another mental effect, a visual
e, etc. Spectators would feel they are being swung from one emotion
another, back and forth, jumping from here to there, without having a
chance to settle into a particular mood. They will end up totally absent,
emotionally and even physically. They will feel tired, even bored, by such
,Jnisarranged variety.
Therefore, in my judgment, the emotions transmitted by every trick
a session should be carefully sequenced. In the varied card session
previously outlined, we begin with laughter and move into more magical
and powerful effects, sprinkled with little gags in the spectator-participa-
tion routines (Cards Across). The cards continue to move, now visually,
in the Rising Cards. A sort of intermission is produced as the spectators
r,elax while watching skillful juggling and flourishes. The s~cond portion
of the session moves into the area of mental effects, beginning with "El
Cochecito" (laughs, tenderness and divination by an "animated" object),
th;n progressing to predictions and the divination of groups of cards. The
style of the presentation has evolved without sudden transitions, from the
lighthearted first portion of the performance to a more dramatic second
half, with the magician becoming progressively more serious. Everything
is summed up in a final mental effect with a strong element of comedy, the
eggbeater. This ends with laughs, the joy of living and fun shared with the
whole audience. It reprises all the emotional elements presented, and it
relieves the tension that the mental effects demand. The result is an apo-
theosis of magic, humor, joy and pleasure.
The steps from the first part of the performance to the second have
been made smoothly, with intermediate effects (flourishes) and tran-
sitional effects ("El Cochecito", which begins as a joke but btcomes an
extremely mysterious and magical divination).
. Another marvelous effect for achieving this type of transition is the
"Invisible Deck". It is funny and poetic in its first half, then becomes grad-
ually more serious and dramatic in the second, resolving in an experience
of poetically impossible magic.
So you see, we must exercise variety with unity. For that you need
a harmony of personality, requiring a style, possibly with evolution in
the style while avoiding sudden transitions. Stay away from inconsistent
jumps in style and don't be concerned with a variety of props; instead,
look for an essential variety of effects and the emotions they transmit.
I am leaving my opinion here, just in case it should be of use to anyone;
or at least to encourage reflection on the subject, since such reflection is
by no means less important.
Effect, in Effect, with Affection
(In Memory of Jose Frakson:·a Magical Effect in Himself)
etimes I still think_;continue to think-about method; in other
rds, about how to con~eal the secret of a trick. And I forget about the
st important thing: His Majesty, the Effect. 28 AB an e~ample, let's con-
er the King of Card Effects: the Rising Cards. For this trick, I search for
method to make the cards rise in a way the spectators, cannot discover.
en I realize, by myself or with help, that the most important thing is that,
long as the secret-how the cards are made to rise-is concealed, the
ect is in itself attractive. Even I feel it is fascinating, charming. When
e see the card rise by itself, both magician and spectators enjoy that
-...,-..m.c.... during which the card, with a soul of its own, moves by itself; it
and rises and rises, and thereby becomes free from the prison of the
It rises slowly, without hurry, and stops at request, or by its own will,
pleasure, obedience or revelry, as the case may be. It then continues
rise, rise; rising, standing out, individualizing itself in a beautiful, slow,
rhythmical, unhurried, almost majestic ascension (to the heavens?). It's a
small rise, almost spiritual, as it escapes earthly ties, almost smiling as it
overcomes the severe, serious and heavy Universal Law of Gravity.
And that's what we· should feel, we magicians; and we should know
how to be touched by it and transmit that emotion, helping the spectators
to be fascinated and blinded as well. And let's not forget that it's the card
that ·was freely selected by, and represents, the spectators. The power is in
the word, when the magician or the spectator names the card; in its will,
whe,p. it rises when called, when asked; and in the magic of the magician,
when the magical passes of his open hand seem to attract the card, help-
ing it to emerge from the others and stand out, unique, alive. Better still,
it is the magician who brings the card to life. And it is the card, animated
by the magician, that responds to the call of the spectator and appears,
exhibits itself, ascends.
28. I use the words Majesty and King without their political-monarchical conno-
tations, which I repudiate.
 1
N

Animation. Its own life. Liberation. Individualism. Improvement. f this is not a subtle and complex, fascinating and poetic, exciting and
1
Ascension: a Glorious Ascension. ,werful, playful and beautiful art, "Yhat is?
Can anyone offer more? If this is not magic ... 0
. And who will think now about how the card moves? Who wants to What is?
break the doll to see its viscera of wheels and gears? Especially after hav-
ing seen the proof that there is nothing to move it.
Of course, merging joy and pleasure, we are saturated in amazement
'
mystery and astonishment, the specific keys of our art.
Here then is a possible itinerary of our thoughts and emotions:
Surprise (It moves!). Amazement (It rises!). Astonishment (It is the card
named!). Mystery (It's impossible!). Acceptance (It really does rise!).
Pleasure (What beauty!). Charm and fascination (It's got a life of its own!).
And inside, subconsciously, there is the joy and happiness of seeing and
attending to the liberation and ascension of the named playing cards, or
of ourselves, represented by them. Is it, perhaps, the liberation and ascen-
sion of our own souls, our own spirit?
All that, and we haven't yet mentioned the suspense felt when waiting
for the rising of the second, third, fourth ... cards. Let's not forget that the
beautiful phenomenon of the ascension is repeated over and over, with dif-
ferent cards, under different conditions: isolated, in the spectator's hands,
inside the card case or in a glass, or with the deck covered by a handker-
chief that is pushed up by the card in its unstoppable ascension. Nor have
we mentioned the challenge we feel in the repetition of the impossible. And
we mustn't take for granted the tricks played by the disobedient card, the
playful card that rises when we're not looking, the King that rises only when
we bow and give him the royal treatment, the shy card, the aggressive card,
the deaf card to which we must yell its name, the card that only rises when it
hears its song, the card that rises back outward and magically turns over....
I

If this is not drama and magic, a dream lived in reality, with playfulness
and beauty, the impossible made possible, wishes granted, myths come
true, symbols transmitted subconsciously, and all of that experienced in a
group, guided by the magician, yet participating directly in the rite-if this
is not magic, what is?
RY
 lNTRODUCTlON

ALMOST all the magnificent writings that deal with the psychology of
magic-by Robert-Houdin, Maskelyne, Fitzkee, Vernon, Ascanio, Ortiz
and so many others-have addressed important aspects of our art: the
rhythm, the grammar, etc. But their overriding focus has been on one
thing: misdirection, the art of diverting, weakening or eliminating the
spectators' attention toward some point or aspect of a trick
But there are other ways to produce illusions in the minds of specta-
tors, such as producing failures in their senses (visual, tact~le, auditory,
etc.) and in their memories (visual, auditory, conceptual, etc.).
Laws of perception and the failures caused by certain optical, aural
?\

and tactile illusions have been applied in magic and explained in its litera-
ture. A few examples are the Phantom Tube, Coin on Forehead, the Click
Pass with coins, the Ball Shell. But my task here will be an in-depth study
of errors produced in the memory, a subject of maximum interest, yet in
our analysis of it virginal (may this unpretentious essay act as a meta-
phoric, but not painful, deflowering). Please forgive some of the pedantic
aspects I may not have managed to disguise.

The Memory. Generalities
The function of memory is to evoke something that belongs to the past
'
such as facts, sensations, ideas. But to remember something from the
' micro-bibliography below). For my part, I will apply those ~pects that are
past, it must have been encoded in our memory when that thing was in
the present. In addition, during the entire time el~psed, that thing must
remain in the memory. Encoding, storage and retrieval of the memory are
the three necessary phases for what we call remembering.
Memory relies on a very complex system. We know there are different
types of memory: memory for skills, memory for habits, memory used
for recognizing everyday objects, memory for names, semantic memory,
conceptual memory, memory for specific events, short-term memory,
long-term memory, etc. Each of these is located in a different area of the
brain. What I will use here is a practical scheme that is as simple as possi-
ble, yet sufficient for our intention of using memory, its evocative capacity
and its science, to create better illusions both during a trick and after
it. Minutes, months, years later, spectators will remember having expe-
rienced the magic, and in the experience of remembering, the magic will
grow better and better, more beautiful, more mesmerizing. In total, we
will learn how to ensure that the magical effect doesn't end (die) when
the trick is over, but remains alive and growing for a long time, until the
moment it is evoked with augmented, luminous joy and fascination.
I should point out that several techniques and principles I'll dis-
cuss come not from analysis or reflection but from artistic intuition- not
' promise it offers for our knowledge of techniques capable of causing fail-
only mine, of course, but from many magician-artists who came before
us. Ernst Gombrich already said it in his wonderful Art and Illusion:
Psychologists should ask prestidigitators, who have centuries of experi-
ence in these matters. Daniel Schacter wrote something similar: Artists
precede scientists in knowledge. And a similar idea was captured before
these two men by the ingenious philosopher Arthur Schopenhauer. This is
why I will analyze, explain and systematize (with humility) the knowledge
of psychologists and the intuitions of artist-magicians, past and present,
along with a little intuition of my own.
psychologists maintain various.hypotheses about the nature of mem-
Some are compatible, some contr?'dicto:ry. I will not get into that here
l)ut will refer those who are interested to texts on the subject (see my 0
useful in each hypothesis ,for causing weaknesses, errors, or mistakes in
the memory of a witness of a magic trick. If you are a stu~ent of psychol-
ogy, please don't rend the garments I've woven at the unorthodox loom
of hypotheses taken from Bergson, Luria, Schacter and others (some of
which, by the way, are still evolving).
Throughout this study we will examine the possibilities of weakening
memories or even preventing the recording of a fact, idea or sensation in
memory. We will then study techniques that can weaken the permanence
of a memory. Later we will deal with techniques that weaken or prevent
the recollection of a fact from memory; partial or total oblivion of the
fact. Finally, we will study in depth how to acquire techniques that can
make the recalled memories partially inaccurate or totally false-or even
create a memory of something that never happened. In other words, we
will study how to erase, blur and "rewrite" memories of events, and how
to create new "memories" of events that never took place.
All this will be presented in the context of its use in magic and from an
essentially practical standpoint. I'll express it in a way I hope is pleasingly
clear and welcoming to other opinions, observations, criticism and, above
all collaborations intended to revise and complete it.
' The great interest this subject holds for us is evident, as is the huge
ur~ in memory. Such techniques are seldom used by magicians, despite
the fact-and it's interesting to explore this-that memory is one of the
weakest and most fallible of human functions. In this regard I should men-
tion that all the practical studies (propositions, tests, surveys, testimony
of experiences, etc.) agree at least on one thing: The objectivity and verac-
ity of any memory is the exception, not the rule.
By the way, as Daniel Schacter rightly points out, the great flaws or
mistakes-which he calls "sins"-of human memory (forgetfulness,
N

et memoire, Henri Bergson, 1968, Presses Universitaires de

recording only what is important, etc.) are not really negative. They are
necessary for living, the positive products of the evolution of the species. .'France: Paris.
And, I will add, they are wonderful for our objective of producing illusions
La Memoire, Jean-C. Filloux, 1969, Presses Universitaires de France: n
(our magic). Paris.
La merrwire collective, Maurice Halbwachs, 1950, Presses Universitaires
I believe something even more interesting needs to be stressed: Even
1

though what we remember can be wrong, often very wrong, we still do not de France: Paris.
The Natural History of the Mind (second part; "Consciousness:
doubt or distrust our memory. We magicians know the truth of this all too
Theories of Mind and Brain"), Gordon Rattray Taylor, 1979, E. P.
well! How many wonderful effects, never performed, do our spectators
remember having seen! And the best part is that they remember them with Dutton: New York.
La psychologie sociale (Chapter 8: "La memoire"), J. Stoetzel, 1963,
"total and absolute certainty"!
We then will use the weakness of the memory to make those fantastic Fiammarion: Paris.
Searching for Memory, Daniel L. Schacter, 1996, Basic Books: New
effects the ones our spectators always remember. And those memories
may be evoked after months, weeks, days, or at the end of the perfor- York.
The Seven Sins ofMemory, Daniel L. Schacter, 2001, Houghton Mifflin:
mance, even during the effect, by inducing false memories of facts and
circumstances that occurred during phases prior to the climax. New York.
Le souvenir, A. Bridoux, 1956, Presses Universitaires de France: Paris.
In all, an ample array of possibilities is presented to us. Let's use them
» The Working Brain, Alexander Luria (Basil Haigh, trans.), 1973, Basic
to our advantage!
Books: New York. Originally published as OcH0BbI Hei'iporrrnxononu1
But not without stressing something very important: All the theories
' by Mezhdunarodnaia Kniga: Moscow.
long established or new, that I am about to present have been proven and
tested in practice, for the public and for magicians of the most diverse
countries and cultures. I've been trying to get to the bottom of this sub-
ject for about forty years and, above all, to find its practical applications.
I have extracted many of the ideas, both on my own and with the help of
others, from practice. I believe this is an almost essential requirement for
any theory that aspires to more than being beautiful, profound and solid,
though in reality far from the truth.
For the sake of the simple explanation I promised, we will now exam-
ine a trick that will serve as a practical model, since it utilizes some of
these possibilities, even though in an elementary form.

Bibliography
» Art and Illusion, E. H. Gombrich, 1969, Princeton University Press:
New Jersey.
 Order
(A Practical Example)
This is one of those effects that truly impresses spectators. However, it
apparent simplicity and the absence of manipulation make it one of those
tricks usually neglected by magicians, especially the "technicians" or
"experts" in card magic.
I learned it, adapted it and polished it over forty years ago, and have
been performing it regularly ever since. It's one of the few tricks I often
include in any type of session.
Effect
Someone freely selects a number and another person names any of the
four card suits. Without the magician ever touching the deck, which li~s
on the table, the selected card is revealed in an incomprehensible way
that has been previously announced.
Secret
All magicians know that, when you ask a layperson for a number between
five and ten, ninety percent of the time seven will be chosen. For the
remaining ten percent, I have devised various solutions, which I will
explain after the main description.
The central idea is to set the four Sevens at certain positions in the deck
You then make the Seven of the chosen suit appear in a specific place and in
a specific way, giving the impression that you have made the "freely" selected
card appear in the precise way specified from the start. In other words, it's a
trick with various possible outcomes, something Vernon was fond of.
Since psychology plays such an important role, after describing the
positioning of the four Sevens, I will go into a detailed study of the trick,
pointing out the psychological subtleties of gestures, words, etc.
Preparation
Put the Seven of Hearts on top of the deck. Insert the Seven of Clubs face
up in the center. Set the Seven of Diamonds on the bottom and leave the
Seven of Spades inside the card case, which may be on the table.
preparation can be easily carried out at any moment, even in
f the spectators during a prior effect.
0 -
e deck next to its case on the table. If you are sitting, scoot as far
I
from the deck as you can. If you are standing, move }t few steps away.
Ask someone to name a number between five and ten ( don't ask him
noose). This is how I ask: In a loud voice I say, "Pleas:e give me a num-
quickly.. . " I pause briefly and then continue in a softer voice, almost
talking only to him and barely audible to the rest: "... between.five and
for example." It doesn't matter if any of the others hear it. It will go
oticed. (This is by no means a case of an impromptu stooge.)
Let's assume the spectator says seven. Halfway through the word
en"-as soon as you are sure the number is being named-continue
·ng, raising your voice to call the group's attention to the conditions:
J It's important to observe that I never touch the deck; that I stay well
ay and don't get anywhere near it!"
Immediately address the spectator again, as if you hadn't heard his
swer because you were talking: "Say a number, any number. " He will
peat, "Seven." Observe that this second time you don't say: "between
e and ten." This is one of the ways I use what I call the "Deaf Man's
29
chnique", which I developed years ago and use all the time.
"Seven? Are you sure?" Look the spectator intently in the eyes and
serve his pupils. If they are fixed on you and he holds your gaze, you
A variation is to pretend not to hear what the spectator says and make him
repeat it. This gains you time while performing a secret maneuver. Yet another
"variation is to misinterpret what the spectator says as you repeat it, which
causes him to correct you, thus gaining more time. It also creates a slight
momentary confusion in the minds of those who heard the spectator the first
time and your response (Did he get it wrong?). This confusion creates a sub-
sequent mental-blurring effect and decreases attention on your actions.
The pretended mistake you make when repeating what the spectator said
can be made immediately after hearing what was said or after an interval,
when you remember his answer. There are other ways to use the Deaf Man's
Technique that are more complex but no less effective.
N
can be certain he will not change the number. In this case, you'll obsel'\t:
that his face is free of tension. He might even nod slightly. Now you c
insist, "Don't you like nine better? Nine is such a beautiful number!"
he continues to meet your gaze, not moving his eyes in doubt or as if seek
ing another number, you continue while always looking at him intently
"What about six? Or ten? Nothing? Okay, seven then." You now turn to
l.ook at a second person.
On the other hand, when you ask him, "Seven? Are you sure?" if he
moves his eyes and his gaze becomes restless, doubtful, don't wait for him
to answer. Instead, tum your attention to a second person and talk to him·
)
preventing the first spectator from answering you or changing his number.
(The father of magic theory and psychology, the master, Robert-Houdin, in
his marvelous compendium Secrets of Magic and Conjuring, explains all
the theories of magic psychology that have since been repeated, including
his theory of the gaze, which he compared to fencing.)
Tell the second spectator, ''Now choose any suit of the deck: spades,
clubs, hearts or diamonds. Choose any one, with complete and total free-
dom. "Let's say he chooses clubs.
Say, ''Are you sure?" Pause briefly, but don't look at him intently.
''Don't you like another one? You don't want to change, do you? Don't
you prefer hearts-or spades. You don't?" Normally he will not change,
but since you are taking it for granted that he will not, and since you are
not looking him in the eye, there is a chance, though it's unlikely, that
he will change his mind. If that happens, it will enhance the effect if you
take advantage of it. Say, ''So you're changing to hearts?!" Pretend to be
surprised, even puzzled. Pause. This usually gets a laugh. Without altering
your attitude, say, "Well then ... okay, hearts. "
No matter how the suit is decided on, tum back to the first spectator:
"It's very important to observe that, up to the last moment ... " Continue
talking, but now address everyone, without looking at anyone in partic-
ular. "... you had the chance to change, but you didn't want to. Okay,
remember that his card must turn face up in the deck." (Or rise to the
top, or go to the face-as the suit dictates.) Observe that you are saying
ber, as if you announced the effect earlier. No one can com-
t even mentally, because your statement may be taken as an
no .
ative, equivalent to "Don't forget" or "Remember it."
ntinue: "The deck was shuffled, away from me, 1 never got any-
near it during the trick, right? And the nam;e of a card was
.tructed by two people. One selected the clubs suit; it could have been
or diamonds or spades. And the other selected,,'.a number that he
8
't want to change. It could have been another suit rind another num-
and the card could have turned out to be the Eight of Hearts or the
of Spades or the Ten of Diamonds-but they selected and formed
Six of Clubs .... "
They will not let you finish. They will object, "Not the Six, the Seven."
have instilled several false ideas in the spectators' minds that they will
r remember as true. One is that the deck was shuffled (it's not very
portant, but it enhances the effect). By the way, it is good if in prior
ks you or, better yet, the spectators shuffle the deck several times.
en the spectators later remember the trick, they will be confused and
lieve the shuffles were made by one of them during this trick Imagine
strength of that.
Another false fact: that the first spectator could have named the number
ur (false!), implying that he chose a number between one and ten. Finally, it
;appears as if he had chosen a number and didn't want to change it. (You didn't
give him a chance to!) Your verbal "error" ("Six" instead of "Seven") focuses
spectators' attention. They correct you and let the rest of your statement
unquestioned. The facts and concepts in it are already in their minds.
After they correct you, you appear a little confused: "Seven, are you
sure?" They are. Pause. Display slight doubt. (Careful, don't overdo it!)
Mumble. "The Seven of Clubs should turn over?" You seem a bit puzzled.
Without much conviction, say, "Well, in theory any card, whether it is the
Ace of Spades, the Jack of Hearts or the Ten of Diamonds, should obey
the magical laws. Why not the Seven of Clubs?"
You get brave, more assertive. "I'll try but ... I need to get closer... only
this much. " Extend your arm to bring your hand about a foot above the
N

deck and point at it with your forefinger. From this point on, keep Yo bs, you pick up the deck in position for the Glide (you haven't yet
eyes focused on the deck. But don't touch it. Get no closer than six inch d you won't touch it) and begin to slide cards from the bottom, deal-
Keep the tension, being serious. "Look, the card slowly leaves the dee thehl without turning them over. When you reach the named Six (in 0
It turns face up-and goes back into it. All the way in. Done." Pau case of the club, fifth from the bottom), do the Glide and say, "But
e ,
Maximum tension. Silence. Stay serious and undisturbed. Feel the effe say stop whenever you want!"When the spectator palls, "Stop," you
yourself. Move your hand away. It is done. Don't look away from the dee out the selection, the Six of Clubs. It's not a great trick, but when
Instruct the spectator, "Spread the cards."· with confidence and assertiveness it's quite ef~ective. Believe in
"Face up: the Seven of Clubs!" Live and let the effect live. Climax. and in the wonderful Glide, which is nowadays absurdly neglected.
effect of }'Card to Order" is so strong, the next time you meet any
Notes they select seven: of the spectators, they will surely ask you to repeat it. If you antici-
» In some cases, though very seldom, the spectator will name a number pate that happening, be prepared with an Invisible Deck A memorized
other than seven. Immediately, as if it were planned, say, "You may deck or Card Indexes can also come in very handy. I wish you success!
change the number once, but only once. What number are you chang., Let this trick be only an introduction to the subject of memory and
ing to?" You ask the question with a tone of authority and immediately ic. We will look at many more possibilities.
follow up with: "Say ... " as you look intently into the spectator's eyes.
If he changes to seven, which is the most likely option, continue the
trick as described above.
In the less likely case that he doesn't want to change, or he changes
to a number other than seven, it is not a disaster. Keep in mind that
the spectators don't know what effect you are going to do. If the final
number is, for example, eight, simply ask the spectator to take the
eighth card from the top or from the bottom of the deck. Then do any
trick from your repertoire with it.
» If you don't present this as an impromptu trick, you can have the four
Eights of the deck inside the card case and the Seven of Spades seventh
from the top of the deck (TOP-7, in my notation) or in your pocket
Should the number eight be chosen, you make the four Eights travel
from the deck to the card case, without touching anything. It's a differ-
ent trick but_:_what a trick!
» And, although I don't think it's necessary, you could have the Six of
Spades third from the face (BOT-3), the Six of Hearts fourth from the
face (BOT-4), the Six of Clubs above it (BOT-5) and the Six of Diamonds
sixth from the face (BOT-6). If six is named, and then a suit, for example
 ENCODlNG WHAT 1S PERCElVED

Features
now get into the analysis and study of the psychology of memory.
I will adopt an ancient but very useful differentiation in the three
es of the process followed by memory: encoding, storing and retriev-
what is remembered. We will refer to these phases, when convenient,
the less technical terms of.fixing, maintaining and evoking.
It is evident that we remember anything better that was strongly
coded in our memory when we perceived it. But we should bear in
'nd that the existence of encoding (as well as storing) can be proved
ly through retrieval. In other words, we can be sure something has been
coded in our memory only when we are able to retrieve it. If we don't
·"' .
trieve it, we can't possibly know if it has been encoded.
It is therefore difficult to clearly and neatly separate the study of
ncoding from that of retrieval. For the sake of analysis, though, we will
ake a clear distinction between the three phases that is perhaps conven-
onal but useful. Let's begin with the phase of encoding and its elements.
I will base these thoughts on the work of Jean-C. Filloux-following
very closely and quoting at times-and also on that of Daniel Schacter.
 I should note that the continuing advance of science will often \render
names, and sometimes the thoughts repeated here, obsolete. Therefor
will try when possible to refer more to psychological concepts rather
to physiological and neurobiological ones. I am aware that any such atte
will inevitably fail, so I ask the reader to ignore any out-of-date infonnation
might find. I believe, in tum, that the applications to magic (because they
,based on experience) will continue to be useful from an artistic standpo·
The Degree
There is an immediate memory, which is, according to Henri Bergson, wh
automatically encodes memories of everything it perceives, just like t
shadow accompanies the body. After a brief time, a few seconds, the me
ories obtained in this way vanish without a trace. Then there is long-te
memory, which encodes any facts considered important. These are stor
for longer periods, sometimes forever. All short-term memories-every
thing we do and pay attention to without our brain considering it importan
enough to store long-term-fade away and vanish after a few seconds.
I will later explain how to keep what is observed a short-term memory,
not allowing it to pass into long-term memory, so that it is forgotten (the
creation of a memory draft).
An immediate memory is affected by the degree of attention with which
it is perceived. If you ask someone to retrieve immediate memories-such
as "What did I just say?"-the more attention he has been paying, the eas-
ier it will be for him. We magicians know too well that when we cause the
attention of our spectators to diminish at a given moment (misdirection),
we are also weakening the encoding of what is perceived, and that
ening can be practically total: oblivion for that memory.
For example, a spectator is holding the deck, and I need to take it in order
to double cut two cards from the top to the bottom. If, after taking the deck
for a justified and natural reason, I create good misdirection to weaken the
spectator's attention to my cutting the deck and setting it on the table, by
end of the effect he might forget that I had the deck in my hands for a few
seconds, and this lapse in memory makes the effect that much cleaner.
• case, misdirection was not used to prevent my actions of taking
5
g the deck from being seen, but to weaken the encoding of these
in the spectator's memory.
I
that are objectively' of little importance will be strdngly encoded in
emories if their perception is accompanied by embtional elements
· ectly affect us and therefore make them subjectively important.
during a conversation someone laughs and makes fun of me when
a small verbal mistake, the mistake, objectively unimportant, will
ly encoded in my memory, as it has become subjectively important.
person had simply corrected me without embarrassing me, I could
easily forgotten what happened.
an effect occurs within an emotional situation, it will be more strongly
ded in the memory, since the degree of emotion and the intensity of feel-
will help in the encoding. In such cases, we can appreciate in a particular
an application of "stressing the initial situation", a concept wonderfully
ribed by Ascanio in his magnificent book on the theory of magic. 30
Examples of tricks that intrinsically contain emotion and are therefore
y encoded are large illusions like Sawing a Woman in Half and the
et Catch, and smaller effects like the Cut and Restored Handkerchief,
eneral Framing of the Mind
at falls within the general framing of our mind is more easily fixed in
For example, everything related to or concerning our profession, our
Shies or our worries is easily encoded in our memory.
If I perform for an audience of tailors on the day of their annual trade
, and ask one of them to cut a handkerchief with scissors, the fact
at one of them cut it as a prelude to the effect of the Cut and Restored
andkenfaef will be more strongly encoded in their memories than it
•The Magic of Ascanio: The Structural Conception of Card Magic, Jesus
Etcheverry, 2005, Paginas: Madrid.
 would be for another type of audience. It's a fact that is within the gen
framing of their minds (cutting cloth with scissors). The same would a
if I performed a manipulation routine with thimbles, the Gypsy Thread
the Needle Trick.
Connected Facts-Group of Facts
.Facts holding a low importance are unlikely to be encoded in the me
ory if they take place by themselves. They are more easily encoded
they are part of a chain, connected for some reason to other facts
greater importance.
If I want spectators to remember that one of them has shuffled t
deck before the trick begins, I can ask him to raise the deck above hl
head and shuffle it there, as if it were a workout. The unusual and som
what grotesque posture will be strongly encoded in everyone's mind. J
after many intervening events, we make the spectators retrieve that ele
ment of the action-hands over the head-they will also remember th
element associated with this posture, which is our objective: shuffling th
cards. They will have no doubt that one of them shuffled the cards.
As every student or practitioner of mnemonics knows, the stranger,
weirder, more absurd the image of an object is, or the crazier, more gro-
tesque the relationship between two objects is, the easier it is to encode
it in the memory.
Naturally, if I want an event to be very weakly encoded in spectators1
minds, I should try to keep it isolated from facts of greater importance;
isolated in the sense that those more important facts are not associated
or linked to it.
Structure
According to the "Psychology of Form", facts and events with a structure
more logical, simpler, more rhythmic and more organized, are fixed more
strongly in the memory.
A poem is more firmly encoded in our mind than a piece of prose. The
melody of a song is encoded better than a sequence of random musical
simple and symmetrical geometrical shape is encoded more
than a group of random curves and straight lines.
1 show three cards having a clear structure-for example, a red 0
Six and Eight: Seven of Diamonds, Six of Hearts and Eight of
nds-and after a few intervening events I shm,y another group
ee cards with the same structure but different dbtails-Seven of
Six of Diamonds and. Eight of Hearts-I can pa~'.s them off as the
'oup displayed. The reason is because the simple ~tructure is easily
bered-red Seven, Six and Eight-but the details are not encoded
herefore are forgotten. Sometimes a slight disruption of order-
n-Six-Eight rather than Six-Seven-Eight-increases the confusion.
the structure were the Ace, Too and Three of Hearts, it would be
to pass them off as the Ace, Too and Three of Diamonds, because it's
simple structure (A-2-3), and hearts is part of it, while our previous
ple used mixed red suits.
On the other hand, if the three cards feature no recognizable struc-
e-for example, the Three of Hearts, Queen of Spades and Seven of
onds-and three similar but different cards are later shown-Three
Diamonds, Queen of Clubs, Seven of Hearts-two things happen: First,
difficult for the spectator to remember the three cards with any accu-
y. Second, the spectator is conscious of the difficulty of certainty in the
emory and therefore won't be sure that the second three cards are the
~•e as those in the initial triplet. His suspicion that the cards may not be
e same negates the magical effect. Alternatively, to avoid f9rgetting the
ee cards, he looks more attentively at one or more of them and later
11 perceive that the second group of three is different.
I'\
As we can see, simple structures help us remember with ease and
ccuracy something more complex, but only in reference to that structure
d not to the external details of it, which we erroneously believe we are
Conversely, a lack of structure or an excessively detailed structure
prevents us from handling or manipulating memories of it. The balance,
always in art and in life, is delicate and subtle.
 Standing
In a group of elements, those that have a special attribute that ma
them stand out from the rest will be better encoded: a small handkerc
•among larger ones, a red card among black cards ....
If all the elements have the same set of features , th.e wh o1e group
elements may be en~oded, but not the isolate_d elements. A group of eig
. cards, all of them picture cards, is better remembered than a packet
random cards; but it's difficult to remember the individual cards i •t
n I.
all the stunts of a trapeze artist are done to a drumroll, they will be bett
encoded in memory than if they were all done to background music· b
~t ~ill be ~ifficult to remember each of them individually. That is w~y
1s mterestmg to apply different ways of underlining effects in a sessio
or show: underlining at times with emotions, sometimes visually, or Wit
sound, with rhythm, etc. If our trapeze artist did only her last stunt to
drumroll, has another stunt seem nearly to fail, has a second trapeze artis
participate in only the third stunt, etc., all will be remembered as a whol
as well as individually. If the climaxes of all of a magician's large illusio
are accompanied by similar sound and lighting effects, they will be bet-
ter encoded in memory than they would be without that accompaniment·
but one climax with a sudden and dramatic silence, another with sensu~
choreography and another done in a delicately lyrical mood (avoiding the
bathetic) will individually encode each of them and make them stand out
in the spectators' memories.
Premises
A premise is remembered first, and then the details that complete
Therefore, tricks with effects based on a simple premise persist longest in
the spectators' remories, which is equivalent to saying that their effects
last longer. "A card lost in the deck rises to the top" or "the solid metal
rings link and unlink" are simple premises, and therefore are easy to
remember and more powerful, memorable, in the long run. 31
31. This also enhances the power of the implicit symbols in the effects.
:t's the reason why several simple effects may be routined, bound
r, constituting the parts of a whole, the premise of which is easily
bered, not only for the performing magician but also for the spec-
n
a2 Needless to say, if we desire that a trick not be well encoded in
emories of our spectators, we should complicate/ its structure and
sure it lacks a simple premise. This occurs with cJrtain "automatic"
;thematical principles. A good magical application iof such principles
es that they be camouflaged by adding moves, ph~es and operations,
ent in themselves but employed to make backtracking and remember-
e actions and operations carried out more difficult. I applied this idea
uously, and I hope successfully, in all the tricks of Verbal Magic. 33
etition is an obvious factor for contributing to the encoding of facts in
ory, but that makes it no less important. This holds not only for the
al mechanical memory (used to remember things like text, even text
don't understand) but also for specific memory (used to remember
crete facts and immediate sensory experiences) and for memories of
as. Repetition creates favorable conditions for the organization of the
ory, the linking of the elements a memory consists of, and the cre-
n of structures and schemes. If an effect is repeated several times, it
l be remembered better by the spectators, not only because it has been
n more than once, but because each time it will be better defined within
e structure in the spectators' minds, helping them to encode it better.
A simple premise and its repetition is an essential combination in
·cks that are easily remembered and that persist in the memory for a
ng time: Six-Card Repeat, Ambitious Card, Linking Rings, Coins through
able, etc.
Repetition is a factor that can and, I think, should be used by the
agician when he wants something to be strongly encoded in spectators'
. Ascanio pointed this out in the foreword of my first bookMonedas, monedas ...
(y monedas), 1969, Editorial Cymys: Barcelona.
3. Verbal Magic, Juan Tamariz and Gema Navarro, 2008, Hermetic Press: Seattle.
 mem~r!es. If I want people to remember that cards have been s
fled, 1t 1s bett~r to shuffle them several times and, if possible, at differ
moments dunng the trick, including those in which shuflli ·
. . ~IB~
irrelevant. For example, Harry Lorayne's magnificent trick "Out of
Universe" is greatly enhanced by the repetition of shuffles, some of Whi
I feel, should be carried out when the last three packets have been se
rated. Shuffling the cards of each of these packets separately doesn't al
the result, but it's three more shuffles. The repetition factor makes it t
. e
1er to remember that everything happened even though the deck has bee
well shuffled. You can also have several people shuffle in succession
a single point in the trick The fact that the cards were shuffled is mo
memorable than if only one person had shuffled. Here, however, we mu
be careful not to overdo it, altering and slowing down the development
the trick, and making it monotonous or boring (a deadly sin in art).
Gestures such as those of showing the hands empty throughout a rou~
tine-clapping your hands or letting them be seen empty-as Frakson di
in his cigarette production or Ascanio in "Cards up the Sleeve", give the
trick, when it is remembered, a characteristic cleanness. By the way, the
s~und of a hand clap, so often used by Frakson, contributes to the impres~
s10n of empty hands and fairness both during the routine and when it is
remembered later.
I must stress that an abuse of repetition can produce a response of ·
bore_dom or distrust or, in some cases, the phenomenon of hyper-encoding,
makmg excessive repetition counterproductive and contrary to the princi-
ple of economy, so valuable to good art.
Collaboration of the Various 'lypes of Memory
As I mentioned e~rlier, we can talk about visual memory, auditory memory,
the memory of ideas, conceptual memory, etc. Sometimes, though, they
don't exist discretely, isolated in reality. They are instead parts of a whole.
But for the purpose of analysis it is useful to treat them separately. Present
studies of the brain and memory (like those on implicit memory) are in
constant evolution, but for us as magicians, it's enough to understand that
way to leave a memory is by making all types of memory contrib-
that all are directed toward t1:te same end. That's the idea behind
tiple-methods system for memorizing a deck Achieving this task
hours with certainty would be otherwise unirqaginable. 34 The
senses involved in the memory (sight, hearing, touih, smell ... ) and
e methods used for encoding ( conceptual, rhyth~ic, muscular... ),
points there will be for encoding and the strong~r the probability
for better encoding.
t's the interesting thing about special sounds when they accompany
ct: noises made with the mouth, by clapping, slapping, finger snap-
etc. Visual aids also help encoding: something red to mark the position
red cards, and something black for the black cards in a transposition
t; or the geometrical representation of a woman's body on the front
Zig-Zag Illusion. Music and fragrances (sandalwood, incense, etc.) can
'bute so much to effects in addition to helping create a more magical
sphere. These elements help to make sure the effect is better captured,
r encoded, better remembered-is more memorable.
We all know that as we grow older, the capacity for encoding
reases. But we should also bear in mind that the physiological con-
·ons of the moment may have a clear influence on that capacity. An
essive consumption of alcohol, certain drugs, great increases in alti-
de where oxygen is less plentiful, as on a high mountain or during a
ane flight; such things can impair or prevent the encoding process. On
e other hand, stimulants such as coffee and tea can aid encqding. These
actors should be kept in mind when performing for certain audiences
hose capacity for encoding is likely to be hampered or boosted.
,.\
We might also look into the possible influence on encoding of collec-
·ve states of suggestion, in varying degrees. For instance, how reliable are
e memories of participants in spirit seances, performed in darkness and
likely to arouse intense group emotional states including fear and anxiety,
sometimes verging on hysteria? There can be no doubt that, in addition
to such factors as the deficiencies in perception of what really happened,
.34. See Mnemonica, 2004, Hermetic Press: Seattle.
N
serious difficulties are created for encoding and the eventual ace
retrieval of memories concerning what was perceived.
These are issues of great interest that need separate studies.
Social Conditions of Encoding
The memory of a group can be, in certain respects, superior to that of
isolated individual in the ease of encoding, perhaps because the retri
and a certain suggestive disposition help to fix the memories. This is so
thing to keep in mind when performing. Are you working for one or
isolated spectators, or for a group? Are the members of the group m·
or homogeneous? Experience teaches us the enormous difficulties
differences that exist regarding effect, comprehension, response, attitu
etc., when performing tricks for a single spectator, for a small group or f
a large audience. Aside from other factors, perhaps the different capaciti
for encoding possessed by these different audiences exert an influen
It is also helpful to consider the interaction between spectators d ·
and after your performance, before they return to their everyday lives . .As
spectator perceives the gestures of amazement and admiration made by oth
spectators, or their reactions of joy, happiness, discomfort or fear evoke
by an apparent mistake or accident, the repetition of those emotions in
group increases the emotional reaction in the spectator-generally in th
same direction as that perceived, resonating with what is felt and expressed
by the group-and fixes emotional, physical and psychological hooks that
allow him to better encode, store and retrieve what was perceived.
Obviously the first effect produced, the increasing intensity of
tions, also contributes to a more lasting memory of the performance.
This resonance of the spectator with other spectators is added to
his resonance with the magician, and with the attitude and emotions the
magician transmits: joy, satisfaction, pleasure, even surprise and astonish~
ment, which may not be simulated but actually felt as real. 35
35. In Chapter 5, I discuss how such emotions can be felt in a real and authentic
way by the magician; see "The Attitude of the Magician during Pauses for
Drama and Assimilation", p. 321.
believe that sometimes, if the group is mixed in terms of age
y ·ultures etc it is quite possible that emotion "through
tastes, c ' ., -
will not be produced, at least in the same desirable sense pro- n
homogeneous audiences.
ant a perceived fact or event to be strongly encoded in the specta-
ds, we should strive for the perception ...
take place during a time of maximum attention.
be accompanied by emotional elements.
d the perceived facts and events should ...
within the general framing of the minds of the spectators.
~ be
•.. be linked within a logical (or anti-logical) chain along with other
,.. have a simple and organized structure .
.have a special feature that makes them stand out from the rest of
elements .
...adjust to simple premises, easily deductible from the complex devel-
ent of a trick.
... bear repetition (same effect, different methods).
... be encodable in memory through different ways and types of mem-
: visual, auditory, conceptual, etc.
And the physical, physiological and circumstantial conditions (com-
rt, noise, temperature, fatigue, tiredness, oxygen, size and expressiveness
the group, etc.), as well as other positive social conditions, should be
 STORAGE OF THE MEMORlES

A Preliminary Digression
elieve that, in the mind of the spectator, a magical effect goes through
least three phases. These correspond to three tenses: the present (It's
possible!), the simple past (Was it impossible?) and the present perfect
has been impossible and wonderful!). In more detail, these would arise:
When the spectator is experiencing the effect, in the present, and
astonishment caused by the impossible is produced.
When, immediately after seeing the effect, during the paus~ in which it
is assimilated, the spectator recalls it, sometimes trying to find a solu-
tion to the logical conflict, and other (many) times trying to confirm for
""
himself the impossibility of the effect (Was this impossible?) so as to
savor the wonder and fascination of the experience (present perfect).
And later, he encounters a fourth and very long tense: the future. If the
effect in fact impressed and astonished him, and once the impossible
had been accepted and enjoyed, in the future (minutes, days or years
later) he will remember it, evoke it, either for himself or by comment-
ing on it with others who witnessed it too, or to acquaintances who
 141
N 140
~
~ didn't. In doing so, he brings the effect back to life and makes ot
ck to reality. I'm with.you again, dear reader. I can continue,

~ enjoy it, feeling the emotion of the marvelous, of the magic. and happier. .
the three objectives, the corresponding mental comments
~ It is my belief that in artistic magic ... •ther mentally or verbally, come together: It w~ and it is impos-
;j ~ I

~ >> A strong magical impression, both intellectual and emotional, must
produced in the spectator as he watches the trick
» Those steps of the trick that interest us should be easily remember
but not the ones that we are trying to conceal or that we wish to
unnoticed. This way the spectator doesn't perceive or discover
solution, and he believes he remembers clearly and certainly what
happened, that he is in possession of all the facts. The collision
reason is thus stronger and the effect more incomprehensible,
mysterious, more impossible! And now that he is calm, he is ready
enter a state of enjoyment and wonder.
» The effects are memorable in the long run, not just in the sense th
they can be remembered, but also in that they are worth rememberi
that people want to remember the magical experience and perha
tell others about it-and that such a desire remains with the spectato
for the longest time possible.
1t,as been wonderful and fascinating!-and will c?ntinue to be.
what I believe a good magical effect should ~m for: a strong
18
~motion in the present and recent past, and what I call a Comet
36
Very bright light followed by a long, white, growing, brilliant tail.
here are elements that can modify the memories while they are
Let's look at them.
horoughly convinced that, among the many applications to magic a study
mo psychology of memory can afford us, achieving these Comet Effects is
of the greatest. We will discuss this later and at more length.

During the :first days of May of 1956, I had the experience of watching th
great Fu Manchu make an obedient twelve-inch golden ball float in a wonde
ful way. It rotated around him and flew quickly several feet from him befo
it majestically returned and ceremoniously entered a wooden box held by an
assistant. I was not only amazed after I recalled the impossible conditio
(the ball, in its magical flight, passed several times through a solid metal
hoop), but was also fascinated by the poetry of the deception, of the impos-
sible, mythical and beautiful effect. Because of this, that effect was clearly
engraved in my ~emory and I've evoked it many times since (for myself and
for others). I have relived the joy and emotion I felt. And I may possibly, prob-
ably, have enhanced its already huge magical power, its impossibility and its
exciting beauty. Even todaY, over half a century after having watched it, as I
write these lines a pleasant chill goes down my spine, then up the steps of my
vertebrae to settle nicely at the nape of my neck, producing such pleasure..
 Altered Permanence •·(mayb e subconsciously) everything that is necessary to make it
37
Let's remember the statement made near the beginning of this chap hensible. • .

The objectivity and veracity of any memory is the exception, not t the nee .
d to lean on logic is a double-edged sword . for the .magi- n
Onth eone hand it can help us boost the conflict between logic and
~ rule. Furthermore, the subjective sensation of certainty ("I'm snre") by ' •
that we present to t~e spectator. On the other hand,; it can be harm-
means guarantees the objective value ("That's how it was") of the eve
e spectator, eager to find a logical explanation, mig~t make up steps
Curiously, the sensation of certainty has no relationship with the ti
didn't happen and believe he is remembering them. 1;his is one of the
elapsed between the storage of the event and its retrieval, although tes
monies about a recent occurrence tend to be more accurate. est problems of performing magic for children.
ere are multiple ways to fight this danger in magic: flawless execu-
We'll begin with the fact that memories are altered although we mig
clarity of action, strong encoding of the conditions (the ones we want
often be convinced they are accurate ("I remember perfectly, as if I wer
mbered, not the others), making the right things easy to remember,
watching it right now"). As Jules Lemaitre puts it: "We never remembe
g the impression that there couldn't have been anything more than
things exactly." Our observations, the events, the sensations we expert,,.
is remembered, and good (concise!) recaps before and after the event.
enced-we believe we know them, but we inevitably invent them.
Although we are aware that many of the alterations of memories ma
.eferences and Tendencies
happen because they were not well observed or encoded, very often
have seen how general tendencies in our thinking and preferences can
memory of something is altered even though it was well encoded, because
r the encoding of events. Also, their storage is affected by those fac-
it wasn't properly stored. This can happen for the following reasons.
ts, transforming the events to fit our interests and preferences. .
Elapsed Time We have the tendency to forget what is unpleasant and to make up
emories that are suitable to our wishes. Here, once again, The Comet
The more time that elapses between perception-storage and retrieval,
fect comes into play. 38
the more confusing and fragmentary the retrieval will be; and we will
In magic, it is very common that someone who is strongly impressed
see, when we study the evocation of memories, that we always try to
a trick and enjoys it, when describing it to another person, will embel-
fill in gaps in the memory, making up whatever is needed and then
sh ·the effect, improving it to an impossible level. After all, if he was
believing with certainty what we have invented. This is why Proust
oled-or rather, amazed-it is because the cause of the effect was com-
said that remembering is not only searching for memories, but also
tely indetectable and the effect itself was full of charm. He will then
"creating" them. The time elapsed increases the number of gaps and
ecount it to others in a manner that causes his listeners to perceive it in
their size, facilitating the involuntary and at times subconscious cre-
the same way. From that point on, that's how the narrator believes the trick
ativity of the memory.
87. This behavior can also be part of the retrieval of memories, because it is when
The Desire of Logic evoking memories that the desire arises to impart logic to the story. We'll
study retrieval more deeply in the next section, "Evoking Memories".
We want everything we experience to be comprehensible, logical
Although this subject is specifically addressed below, in the study of the evok-
and coherent. If something isn't, we try to adjust it, even if we must ing of memories, I am previewing some of the ideas here.
 happened-just as he has told it. If the listener, in turn, tells it to some
else, he will improve it even more; and, if the impression he received u
hearing it was vivid, in time he will begin to repeat the effect as a li
, experience and will even come to believe he was a witness to the effect
read it in a newspaper, etc. The capacity for self-deception (self-illusi
is enormous, and I believe the magician should bear it in mind and use
to improve his art. (It has long been used for·advertising, commercial
political, with objectives very different from ours.)
But the phenomenon described above-and this is very important-
be produced only if the impression of the first person was favorable. If
impression of the trick or the magician was unfavorable, the phenomena
will work in the opposite direction. Thus, a spectator will be able to descri
a trick he watched as miraculous if, and only if, aside from having felt a stro
magical effect, he found the personality of the magician pleasant; if there w
chemistry and sympathy between performer and spectator; or if the pe
former is a loved one: a son, friend, girlfriend .... On the contrary, the spectat
will diminish the quality of the effect, filling it with augmented imperfectio
if he finds the magician unpleasant, if he didn't like him, if the performer's
selfish or pretentious attitude made him feel attacked, if he is an enemy or
competitor in some field, etc. Also, if the spectator feels negative emotions
(frustration, insecurity... ), the quality of the effect will be diminished in his
telling of it to others: It was just skill, it was slow, he put it up his sleeve, etc.
Therein lies the importance, above all, of the Comet's Tail (remem-
brances of the trick); of empathy with the magician's personality, as well
as his capacity for communication, and his charm, his honesty, his atti-
tude and his humanity.
For me, the best effects I have ever seen were undoubtedly those per-
formed by my daughters Ana and Alicia, and that's how I describe them, to
whoever wishes ( or doesn't wish, it makes no difference) to listen.
The Normal Factors-The Gestalt
Gestalt psychology has reached the conclusion that "the processes of
deformation of memories consist, in general, of replacing the more
forms with very simple and regular forms, as well as highlight-
significant. details." Thus, memories tend to become schematic in
of simpler formal structures, toward "forms of balance". n
ause of this process, a complex routine of card productions, van-
color changes, translocations, etc. will probably pe remembered as
uous production of cards, which, even if it dir/ninishes the effect
ain way, makes it easier to remember. It is more memorable and
ore a better effect in regard to the Comet's Tail.
example: Jose Florences Gill's and Frakson's creation (production)
dreds of lit cigarettes is memorable, if we remember correctly. With
n there are also effects of the creation of smoke, vanishes, the incom-
ility of a handkerchief, etc. It is, though, the single, repetitive and simple
pt of continuous cigarette production that remains in the memory.
er factor of great interest for the magician is the phenomenon of
densation, through which facts and images remembered and several
s retrieved are merged, giving birth to compound, condensed images,
details of which are doubtful in their accuracy.
This knowledge provides a magnificent weapon for the magician.
example, in the construction of routines in which the same effect
repeated, we can and should change the underlying method, so that a
ment that was less clear in the first version can become entirely clear
the second, and vice versa. The memory of the specta~or condenses
th versions and, given our tendency to believe that the same effect
been produced by the same cause, he will remember an effect that
extremely clear in all its phases, in all its moments-a totally magical
ect. Hofzinser and Dai Vernon are undisputed masters of this type of
plication to the structure of their routines. (Let's remember the great
ofzinser's "Everywhere and Nowhere" and the equally great Vernon's
utine for the Ambitious Card.)
And with that we reach the third phase of the process: the· evoking of
 EVOKlNG MEMORlES

The Comet Effect

the previous section I've commented on what I call The Comet Effect,
uality I believe a good magical effect needs. There is a bright point, the
feet as perceived by the spectator in the first place, followed by a long
that increasingly grows in size and brilliance, which is the effect as it's
ing felt and remembered by the spectator, and which is then perhaps
ld to others, during its life in the memory, with the passing of time.
We mustn't forget that the magical effect is not what the magician pres-
nts. It's not a factual impossibility, but rather what the spectator believes
sees. If I, the magician, divine a card selected by a spectator, but I say,
'The card you saw was ... the Two of Diamonds, " the real effect is not
tlfut a physically selected card was divined, but that a card just seen-or
maybe only thought of-was divined.
And here is where the growing and luminous tail of the comet appears:
lf you can make the spectator, in his memory (a few hours, days or years
later), believe that what you divined, a card he saw, was a card he thought
of, without his seeing it or touching it, the effect, augmented in his mem-
ory, is better, more powerful, and the magic more wonderful.
 We magicians have the everyday experience, after our performance
of noting how enhanced memory is the general rule rather than the e:xce
tion. How often are we asked to repeat that trick in which the coi
magically travel from one of the spectator's hands to the other, witho
the magician being near or touching the coins-and we find ourselv
unable to repeat it under the marvelous conditions remembered.
In such situations, I confirm the fantasy· narrated by the spectator.
Keep in mind, if that is what he remembers, that is his truth and the effect
he is experiencing at the moment. In my early days as a magician, it felt
little awkward accepting and confirming such memories. I felt I was being
unfaithful to the truth. I later realized that if people had told me the exter-
nal truth they had perceived-"! freely selected a card and you named it; it
was incredible!"-! would have confirmed it without the slightest qualm.
But this version of the trick is as far from reality as the improved one
because the card was not freely selected; it was forced; and of. course I'
didn't divine anything at all.
That's how I came to understand that the enhanced version is just
as truthful as the one adhering more closely to reality. When a spectator
narrates the magical effect he experienced, both he and those of us lis-
tening know that we aren't talking about the actual reality but about the
artistic reality within the scope of art. And yes, right then, at that precise
moment, what is narrated is actually true, because it is what the spectator
feels, built on what he felt and then improved on while evoking it. All that
is lacking is to thank him for his invaluable cooperation in co-authoring
the trick. Isn't that beautiful?
What I'm trying to analyze here are the causes of this enhanced mem-
ory of the effect and how it is possible for the magician to influence its
formation and boost it. Doing so will increase the magical effect in the
long run as mu~h or more than a good manipulative, physical or psycho-
logical technique.
Or it could be that technique, dramatization and presentation, in addi-
tion to the elements our analysis might discover, will be the causes and
the enhancers of the tail of The Comet Effect. Let's see.
Is The 'IL.../V ........ ...,.., ~•:::!:~~~-::; .,..,.,,~r'1rLIL'-''--•'UI.
k that, above all, The Come~ Effect is produced by the desire of
·tor to revive or transmit the sensation of miracle, of wonder.
spect a . . . .
nishment and fascination of the senses produce a Joy that mvolves him
sUIVI·ves in some comer
. of his astonished brain andjpyful
, soul. And he
s to tell others about it, to share it. Often, when he.tells it to a friend,
better transmit to him the impossibility and the joyfql sensation experi-
a ed, he exaggerates almost subconsciously (and we ,will later see what
"almost" is about). He exaggerates the final effect and the conditions:
ens of cigarettes appeared! (Frakson was introduced as "The Magician
the Thousand Cigarettes"; yet, in his longest routine, he produced-nine!)
The almost in the previous paragraph refers to the fact that this exagger-
. g of the effect is not totally conscious or voluntary. It's not that we, as
ctators, are lying when we recount what we saw-we are trying to transmit
hat we felt, the magical emotion, mystery and wonder. So we augment and
hellish the narration, because we can't accurately remember the details.
We relive the experience as we narrate it. In other words, we feel
"-what we narrate. It's not a cold scientific description. We relive the aston-
ishment, the joy, the sensation of wonder. And this experiencing of the
enhanced trick is, from now on, the true reality for us. The next time we
remember it, we will begin from this improved version and build from
there. We will remember a further enhanced variation, and this process of
augmentation continues with each retrieval.
I think we are now in possession of the facts needed to reconstruct the
sequence that forms The Comet Effect for the spectator:
» The magical emotion was wonderful.
» It wasn't told to him, he experienced it. He infused himself with that
experience. His physiological sensations (nerves, anxiety, holding
his breath accelerated heartbeat, etc.) were recorded in his sensory
'
memory and make him, or allow him to, remember and repeat the
experiences when he evokes the effect.
» He wants to recreate or transmit the emotion of the magic he experi-
enced, to share it.
» He doesn't remember the details perfectly, but believes he does.
» He feels a positive effect and an empathy with the magician's person ·
» His verbalization of an improved version of the trick becomes t
starting point for future remembrances, perhaps further enhanced.
Let's look at some everyday examples:
The beautiful play of the center-forward of our team is often reme
bered and then told, considerably improved. •If, on top of that, the pl
·was the final goal that won the Cup against the eternal rival of our te
and we were in the stadium to experience it, among our team's fans, w
will probably remember it as an epic event in which the forward dribble
past three players, made an outrageous heel shot and, barely having an
angle, slipped the ball past the hands of the rival goalkeeper, thanks to the
subtle spin he put on it.
The review of the play on TV the next month can show us the reality:
He dribbled past only one opponent, he had a reasonably good angle to
make the shot, it wasn't done with his heel but with his instep and the ball
ricocheted off one of the defensive players.
A classic example in the study of memory that displays its low reli-
ability notes the different versions given to police by witnesses of a gun
assault that affected them profoundly:
-There were two tall, dark-skinned men with machine guns.
-There were three men. Two were short and one of average height,
and they had guns.
The truth is that there were two short men, one with a gun, the other
with a sawed-off shotgun. And if these men put us through a nightmare, it's
logical that we feel an aversion, almost a hatred, which may cause us to
remember them as having unpleasant faces, selfish manners, twisted
things that might not be true. With the passage of time, it's possible we will
remember details we didn't see-things we were told and facts altered by
other witnesses~ perhaps even spiced up with details from an old movie.
Now we can answer that interesting question: How do we make the
spectator improve the effect in his mind when recalling it hours or days
after having seen it?
I think certain factors need to be maximized. We will call them:
s
ormous and Positive
. the essential factor of the magician's personality appears. If a
am, athizes with the person who is the magician and with what
orsymP . :
·t from his inner world if the spectator hk~.'S that person or,
snn s . ' :
. charmed or fascinated by him, the battle is w?n. The spectator
'IS • . . 1· h
e and tend to evoke the person who charmed ,rhlm with de 1g t,
. tend to improve the effect he saw. If he tells others, relatives and
11
ds, about that effect, he will act like a mother talking about how well
.son sings.
have experienced, in myself and with people very close to me, the
1
t to which the perception of the magician and the memory of his per-
ality are influential in a positive way, and occasionally in a negative on~.
remember attending with my partner-a woman well versed m
c-the performance of a good magician who presented a series of
ng effects, well executed in every way. I liked it, but when I asked her,
at did you think?" she answered, "Well, it was so-so."
Me: "But didn't you see how impossible it was when the cards traveled
the envelope and when the ring appeared on the rope? Did you see any
t of how he did it?"
She: "Well, he must have put it in there at some point ... or the rope was
roken ... I don't know."
I insisted: "Didn't you see that he gave the rope away at the end?"
· And she cut me off: "Yeah but, come on, I don't care. I didn't like it. I
'dn't like him. Period."
I should point out here that there are certain exceptions: certain
niuses of magic who have not perhaps been simpatico, yet have pos-
essed a very strong personality, enormously interesting, at times
,f:ascinating, and they've transmitted a rich and attractive inner world, per-
fectly conveyed through an artistic path of magic.
39
Of course, they are blessed with that gift, so mysterious and, for me, indefin-
able that we call charisma or duende or charm or aura or appeal or ...
'
 152
The Power of the Magical Effect
To be remembered, the effect should be truly powerful That's one
the factors (we'll discuss others later) that make the spectator want
. remember and evoke the effect. He will do so if he has experienced
as totally "impossible" and "fascinating", the two key· words in our
And the astonishment felt when perceiving the impossible should be j
that: authentic a-s-t-o-n-i-s-h-m-e-n-t. Like fascination, it should cont
charm, dream, poetry....
Also, the more powerful the effect, the better the chances that t
spectator will want to evoke it repeatedly in the future. And as we ha
seen, in each evocation and narration to others, the effect will improv
Symbolism
After a gambling demonstration, every time any of the spectators play
watches or refers to a card game (especially if it's the same game), h
will want to recall the effect presented, because he would like to hav
the magician's power. In this case, the conscious, explicit meaning of th
effect is what encourages the wish. Most classic effects have the power 0
evocation in themselves, either in their conscious significance or in the·
subconscious symbolism, which is metaphorically expressed: letting g
or becoming free of the ties of life (metaphoric but felt as real), healin
wounds (curative), having power over objects, mastering time (knowing
the future, abbreviating the wait, going back to the past), producing meta-
morphoses between objects and people, multiplying wealth, etc. 40
Therein lies the enormous importance, in the most artistic kind of
magic, of having a strong and fascinating symbol implicit in the trick: An
impossible wish, sometimes not a conscious one, fulfilled by the magical
effect within the artistic reality, is latent or expressed in good tricks. 41
40. See more on the subject of symbolism under the heading of "Emotions" in the
next chapter (p. 187) and in the earlier chapter dedicated to classic effects and
symbolism in magic (p. 71).
41. Which, by the way, do exist. There are good and bad tricks. Very good and very
bad. Don't doubt it. There are some tricks that, no matter who does them and
153
ire of Recreating the Wonderful Experience
ebrating It
;· g experienced during a trick (or session or show) has been pos-
of joy and pleasure, of amazement, impossibility and fascination;
roent is felt for the power and wonder in what ~as been seen; if a
atmosphere, a bubble of illusion, has been created; if everything has
e a beautiful and incredible dream shared by the group, the audience,
· g relatives, friends and those who came to the se~sion with us; if the
here of the theater, hall, pub or private home where everything took
helped us feel the experience was unique and unrepeatable; there is no
that the desire of recreating it, telling it, sharing it and celebrating it will
e and on certain occasions be almost irresistible.
though this boosting of the desire and pleasure of sharing with
ones the joy we felt, the beautiful artistic experience, is common
e other arts, it is in our magic that the experience of astonishment is
tained by unresolved logical, rational conflict that notably urges us to
e recreate and augment the artistic effect we felt.
'
re are still other circumstances that encourage us to recall and tell 0th-
what we have seen. One of them is that we were there and actively
'cipated. Our participation in a trick-which, as we all know, increases
effect for us as well as for our friends, and even for those sitting next to
m-awards us, when we tell it to others who weren't present, a certain
portance, because we were in the spotlight, as direct and active partic-
ts in a secular miracle: "I thought of the city myself, and the magician
n named it. And I made it difficult for him because I thought of Istanbul
how they do them-presuming they don't butcher them-will produce a great
effect (Linking Rings, the Invisible Deck, Ambitious Card, Levitation, Cut and
Restored Rope, Egg Bag, etc.); and there are others that are confusing, with
weak effects, without an implicit symbol: little technical trifles that not even
the likes of Frakson could make live and transmit magical emotion. Selecting
tricks with good judgment is, I think, the first step for a good magician.
N

rnent of effect rely on making the effect embody multiple and

and not Paris or Madrid or London." "I lmow the guy who checked the kn
.ed units, such as a continuous production of cards from the air
He works in my company." "I had those rings that linked and unlinked in
hands, and they were absolutely solid and unbroken."
d-manipulation act, while disregarding other effects such as disap- n
The pleasure of this astonishment is multiplied if the magic has h Cesor translocations of the cards. I

it is evident that such simplicity or, rather, non-complica-

pened in our own hands: "I was holding the copper coin very tightly in
fist, and it changed to silver." "The sponge ball multiplied in my hand."
. had any four cards between my palms and the four Aces gathered ther
"I and other people guessed the color, red or black, of each and every c
in the deck." "I checked the whole process from less than a foot aw
Everything happened in front of my very eyes. "42
Facility Evoking the Effect
Improving It upon Its Evocation
any c ase , i
the effect and its development facilitates its e~ocation, narration
nhancement.
ncourage the spectator's repeated wish to evoke the effect, the magi-
can create what I call evoking hooks: objects, actions, music, phrases,
which the spectator "hangs" his memories and then, when
s, etc ., On
e hooks appear in his everyday life, they bring back the memory of

The effect, to begin with, must comply with the conditions of the so-calle magical experience.
The strongest kind of evoking hooks are objects given as souvenirs
Carlyle Criteria: 43 It must have maximum clarity and power; the simple
one or several spectators who have taken part in the effect: the card
the more repeatable, the more direct, the better. It can be described as
ed by both the spectator and magician that magically traveled, the
single idea in a few words (the Gypsy Thread, Multiplying Balls, a divi""
tored rope, an origami figure, the envelope in which a ring appeared,
nation of a thought-of card, etc.). Complicated procedures and complex
fruit that appeared under the cup, etc. It's not easy to exaggerate the
sequences in its development are avoided.
ormous potential of objects that play an essential role in the trick; a pup-
We should point out that these criteria do not conflict with the con-
t, balls, a safety pin, coins or banknotes-perhaps foreign ones of low
structivist style (Hofzinser, Vernon, the Madrid School. .. ) in which the
ue. When the spectators see them and show them to others, they will
effects are routined, combined and even made more complex. It's the
11 them the story and improve the effect. Furthermore, the aroused curi-
task of the interpreter of this style to make the spectator experience each
;sity in the listeners, as well as their active examinations _of the objects,
effect, one by one, even though they take place at almost the same time.
· l make them feel more intensely the magic of what they've been told,
The pauses for dramatization and assimilation are measured; the complex
~ost as if they had experienced it and not just heard about it. Thus, The
effect is given a clear reading. See, as a paradigmatic example, Hofzinser's
Comet Effect, with time, not only increases its light and brilliance for the
"Omnipotence of Women". 44 Sometimes the facility of evocation and the
spectator who saw the effect, it also illuminates, wraps and immerses the
42. The continum;is and active participation of most of the group is just one of the ;~rowing number of his blessed listeners in its magic.
specific, marvelous features in the powerful art of close-up magic. Evoking hooks can also be non-material-mime, sound, words, actions-
43. Francis Carlyle, a magnificent American magician, known as the creator of that may be left with spectators. For example, a magical curiosity that
"The Homing Card", a masterpiece of card magic. is shown to them during the trick and that they can repeat and present to
44. Johann Nepomuk Hofzinser: Non Plus Ultra, Vol. 2, Magic Christian, 2013.
their friends: folding a bank note to make it look like two, an easy :flourish
Hermetic Press, Inc./Conjuring Arts Research Center: New York, p. 133.
with. cards or coins, the puzzle with two corks. There are all kinds 0 f games
and ideas, as ~ell as words, phrases and magical spells, that are memorable
because of their sound (Sim Sala Bim' Abracadabra, etc ·) and are repeated
thro~~lwut the session. When they encourage spectators to remember the
magician, they also help them evoke the effects he presented.
Certain repeated lines are also useful for this evoking function: "What
night!" (Pepe Carrol), "It's amazing!" (Frakson) and other phases that mi ha
. h gt
occur mt e spectators' everyday lives, as they hear acquaintances say them
or when it seems appropriate to say them themselves. But they are effective
only when they are not repeated excessively during the session, when they
have ~t, duende or charm, and when they naturally suit the style and per-
sonality of the magician. In other words, they should never feel forced or
artificial but are heartfelt and genuinely grow from the personality.
It is well known that the music, lyrics or the odors (incense and scents)
that accompany a trick are wonderful evoking hooks for a whole session
or a particular trick.
A third kind of evoking hook consists of memorable images. For exam-
ple, you produce a giant coin and leave it in view throughout the session
referring to it from time to time: "This is Gulliver's coin. If I pay with it'
they give me five-foot sandwiches and double portions of everything.:,
Then, only at the end of the session, you pick it up and comment on its
size, the difficulty of putting it into your pocket, its weight. Then you add
something like ''But it's worth it. What a dinner I've got coming!"
In tricks that don't carry an implicit evocative power, try to devise
. . ' experience to others.
imagme and search for some emotional hook. For example, in a card rou-
tine, I introduce a small Moorish tea glass on which are colored drawings.
These drawings have the power to produce my magical effects-trans-
forming cards, g~thering the Aces and Kings for a poker hand, even
materializing coins and banknotes-when the tea glass is set on top· of the
deck. After the routine, there are always spectators who jokingly offer to
buy the wonderful glass. A good answer to this is: "Actually, some small
glasses have this power. You can check for yourselves when you use one
of them. " When, a few days later, a spectator has a glass of wine or tea, or
ffered a shot in a restaurant, he will probably remember your magic
tell those around him about it, surely improving the magical effect,
maybe the whole session.
mporary Summation
e effect must be a bright spot, but its magical strength can grow when
membered by the spectators (the brilliant tail of The Cbmet Effect).
For that:
The spectator should want to remember with pleasure or admiration
or interest the person who was the magician, the person who has fas-
cinated him with his persona and artistic style.
The magical effect should have been truly powerful, logically impossi-
ble, brilliant, exciting and mesmerizing.
» The effect should carry the implicit or explicit symbol of an impossi-
ble, fascinating, magically fulfilled wish.
The magician should strive to make the spectator want to evoke (for
himself and for others) the extraordinary experience he lived.
The wish to share should increase. That occurs if there is solid, active
participation from the spectators in the process of the trick: They
think, examine, choose, touch, take, keep, respond, help, witness ....
The more involvement there is, whether of one person, several or
the whole group, and especially if the effect happens in their hands
.or with their possessions, the more eager they will be to relate their
The effect should be easy to recall. Remember Carlyle's Criteria: sim-
"~ple, strong, direct, impressive and easy to describe.
» Evoking hooks should be incorporated without difficulty: objects,
phrases, music, odors ....
We will later discuss another magnificent technique that boosts The
Comet Effect: "The Work of the Magician after the Session" (p. 182).
But for now, let's continue to study other factors that improve what is
evoked.
 Other Factors Improve Memories
There are some precise techniques, in addition to those already mentioned
that can help improve the memory of the effect seen. For the morrient, w:
will set three objectives for ourselves:
1. Reinforcing the positive conditions.
We wish to cause all the positive conditions that made the effect
seem magical and impossible to be remembered clearly ("The
cards were shuffled by the spectators", "He showed the bo:x:
empty" ... ) and even to augment those conditions.
2. Forgetting the negative conditions.
We wish to cause all the negative conditions to be forgotten ("At
the end, the magician touched the deck", "He put his hand into his
pocket" at a time when it is suspicious ... ).
3. Remembering what never happened.
We wish to form memories of positive conditions that never existed
("The spectator thought of the card" when he actually looked at it
"Everything had been examined" when this isn't the case). ' ined it. "However, we must be careful not to make these summations
Now let's look at some techniques that help us achieve these three
objectives.
First Objective: Reinforcing the Positive Conditions
I use three specific techniques:
» The Absurd or Exaggeration
We add these features during the action we want remembered. We'll
illustrate this with an example used earlier: I ask a spectator to shuffle
the deck while holding his hands above his head, so that everyone can
see. The image is funny and memorable.
Or, to convey that a card case is empty, I tell the spectator
to feel inside it and to be careful, because I sometimes forget
my mousetrap in there. Sometimes I use an old verbal gag, still
perfectly effective: "There is nothing and, above all, no one
inside. "45 The same idea may be used for stressing that a card was
thought of, rather than taken or seen: "Would someone please cover
the eyes of our friend with your hand, so that he can concentrate
and think of a card-but don't fall asleep. Have you thought of one
n
already? Imagine it. You may uncover his eyes. Can you see any-
thing now, other than· little colored stars?"
But I must stress here that the verbal exaggeration and absurdity
should be in balance with the importance of the action for the magical
effect. Simply telling someone to shuffle the cards should suffice if the
effect will be a transposition or a divination in which the initial shuffle
isn't essential. We must be careful not to exaggerate our exaggeration.
The Overview Prior to the Effect
This is a technique the old masters, especially Robert-Houdin, used
exquisitely. It consists of making, if possible, a verbal overview of the
actions we want remembered: "One of you-you-shuffled the deck
over your head," or "You thought of a card with your eyes tightly
closed and blindfolded. You didn't take it or see it, you only imag-
too long or to repeat them too often. A single, clear overview given
prior to the realization of the effect is enough, and then only in certain
cases, when it is really necessary. It's a magical tool that should not
be abused, but it is enormously effective when used properly. It also
heightens the drama prior to the effect and has positive consequences
for the pause for.assimilation after the effect. 46
» Reinforcing with Gestures or with Whispers after the Effect
Our idea here is to sum up the effect with gestures during the pause
for assimilation, while the audience applauds. We can whisper, or even
state in a normal voice (it will not be heard because of the applause),
and mime the conditions of the trick, but only those that we want to
fix in the memories of the spectators. An example will make this clear:
45. I use many examples from card magic because it is my beloved specialty, so I
know them well. You can adapt these ideas to your specialty.
46. See "The Beloved Art of the Pause", p. 310.
N
The tric~ i~ over, the spectators applaud, and the magician promptly
says, pomtmg to the participant, "This is the card you thought of.
without looking at it. " The magician covers his own ey 2 s. Then'
pointing to the spectator who shuffled, he says, "This is the deck yo:
shuffled at the beginning. "The magician holds his hands over his 0
. WU
head, miming the action of shuffling. He doesn't have to pronounce
the words. He can just think them or whisper them to himself.
With all this-and always without exaggerating the gestures-we
greatly help the spectators to recall quickly and easily the positive con-
ditions of the procedure, so that they can immediately go on to enjoy the
magical effect, its beauty and its symbolism. They will have the whole pro-
cedure of the trick clear and fresh in their minds, feeling its impossibility,
and they surrender and enjoy it.47
Second Objective: Forgetting the Negative Conditions
Luckily for us magicians, the most constant function of our minds is not
the task of remembering but that of forgetting. We forget almost every-
thing we see, feel or do. We retain only what our minds consider very,
very, very important. We encode it, retain it, remember it. And only such
things go into long-term memory. The rest is forgotten. 4s And that's what
concerns us here: that the circumstances that work against our objective
of creating illusion are forgotten. Logically, we want to prevent them from
being noticed, from being seen; or we want them perceived with a very
divided attention; or we want them to stay only in short-term memOI}\
47. I have been employing this technique effectively for many years. Curiously, I
began using it in a completely intuitive way. Only years later, when my dear
brother in magic Gaetan Bloom pointed out, after seeing me use it, how pow-
1
erful he considered this technique to be, did I become conscious of it and
begin to use it methodically. It very often happens this way: The artist figures
out something intuitively; then he or others analyze it and make it available to
other artists-and the art is enriched.
48. It can't be any other way. Read "Funes the Memorious" by Borges to see the
maddening consequences that remembering everything could have.
tt;going into mid-term or long-term memory-fading away after a few
onds and becoming irretrievable, as if they had never existed, erased
m our memory. n
In other words, we don't want these facts to be encoded, or we don't
t them to pass into mid-term or long-term memory.
To prevent encoding, we should avoid or eliminate circumstances that
elp the encoding of facts, as commented on earlier. Precisely how to
hieve this lac~ of attention by dividing or physically and mentally misdi-
cting attention is what magicians have studied the most thoroughly and
is usually the objective of manipulative technique, of the various types of
·sdirection, and the whole psychology of deception, from false solutions
in-transit actions, from the parenthesis of forgetfulness to controlling
the gaze, from the secret technique for relaxation to conditioned natural-
ness. Therefore, I believe it's useless to go further into the subject here.
I refer the reader to the works of the magical giant, Robert-Houdin (that
contain the essence of all psychological theories), and to those of Vernon,
Slydini, Hugard, Keith Clark, Ramsay, Darwin Ortiz, Burger, Kurtz and, of
course, Maestro Ascanio, as well as· many others, among them, perhaps,
some of my own works.
But we should observe here that, to prevent negative conditions from
passing to mid-term or long-term memory, we must not refer to those con-
ditions verbally. We should forget them ourselves, ignoring them in our
overviews and recaps before and after the effect, and we should maintain
an attitude in accordance with their nonexistence: the powerful weapon of
disarming looseness applied to this subject. A few pages down (page 173,
to be precise) I will describe the technique of "emotional erasers" that can
be used to prevent elements, circumstances and negative conditions in
short-term memory from passing into long-term memory.
Third Objective: Remembering What Never Happened
This is something, in my judgment, of the greatest interest, because it
notably increases the impossibility of the effect produced and the ampli-
tude of wonder.
 Using precise techniques, we will attempt to make the spectato
remember some positive conditions within the procedure of the tri
conditions that never really existed. I am not referring here to those
can simulate by using a manipulative technique, such as back-palming
coin to make the hand appear empty, but to actions that never took Plac
in the trick, yet are nonetheless "remembered" by the spectators. Let's
look at these techniques: · .
» Temporary Confusion
If I have the deck shuffled by the spectators in a trick and then shuffled
again in the next trick, but not in the third (in which I might be using
a stack), I could state during the overview of the prior effect, "Now
I'll leave the deck with the person who shujfied it. It was you, right?"
The spectators, unaware of what the next effect will be and there-
fore of the importance of having the deck shuffled by a spectator
'
easily accept my comment, which is confirmed by the spectator who
receives the deck When, after the effect, they remember the condi-
tions, they will include something that never happened. It actually did
happen but not during that trick They are confused by the when, not
by the what. In my recap following the effect, I can also include the
spectator's shuffle that didn't take place.
» Impossible Promises
Before the start of the trick, the magician makes assertive statements
that will not be totally fulfilled or, rather, will not be fulfilled exactly as
stated, but with slight, though essential, differences.
Yet, the fact that these things are stated openly and confidently
the magician produces a confirmation in the minds of the spectators
of the circums~ances just as they have heard them. Later, if the dif-
ference between what was promised and what really happened isn't
noticeable, it is more than likely that what was heard as a promise
remains as an experienced reality in the minds of the spectators.
Here is an example (in card magic again, sorry): "Now name a card.
I'll leave the deck there on the table. I will not touch the cards again.
at was your card?" The spectator names it and the magician reacts
th joy: "Yes!" The spectators, vyho have followed the procedure of
· k deep down confirm the impossibility that the card thought
etnc ,
has been found by· the magician without his touching the deck
d thanks to the repµtation earned by the magician during previous
' .
tricks, the spectators are amazed by the miracle, ev~n before seemg
card. If the magician said he would not touch th~ deck and he is
·SO happy when he hears the name of the card, that's ·an unmistakable
signal that the miracle has occurred. The spectators relax, the magi-
cian relaxes and, without making it seem important, he picks up the
deck and shows the card on top (after a Pass, a Palm, the addition of
the card on top, whatever).
The spectators will confuse, in their memory, what they actually saw
(the magician did touch the cards) with what they heard, believed and
internalized (he will do it without touching the deck). Not out of van-
ity, but to support the concept with the opinions of great experts, I
must tell you that this technique has flown by magicians of the caliber
of Vernon, Jennings and Lorayne. After I later revealed the principle
to them, one, amazed, told me he was sure that what I'd promised had
been fulfilled.
Opening a Parenthesis: Persistent Memories Carried Over
Regarding this subject I will allow myself a momentary parenthesis: I will
comment on a curious personal experience that I believe is applicable to
everyone, and through this I will attempt to approach the explanation of
how this phenomenon of confusion through false promises works.
I have several times observed in myself a type of experience that
perplexes me because I don't know its mechanism and haven't been able
to find an explanation in the modern psychological literature I've con-
sulted. This isn't surprising given that I'm not a psychologist, the body
of psychological information is huge and always growing and, as the
experts on the subject observe, we are very far from knowing everything
about memory.
N
Here is an example of the phenomenon. Someone tells me, "Did y:
know that Federico was in a car accident and broke his hip?" Federico
a magician friend, and immediately I feel truly sorry about his accident;
then think of the consequences: "He won't be able to perform in the sho
on Thursday. I'm going to have to look for someone to fill in for him.
I internalize this idea and others, similar and divergent, but all of the
are consequences of Federico's accident. My brain relates the event Wit
many things and circumstances: "His girlfriend will be upset. Perhaps h
was a careless driver. If he ends up lame, it will be difficult for him to pe
form stage illusions ... " And there are other things that don't go through
my conscious mind.
Hours later I learn the truth. He wasn't the driver when he had the
accident, and he suffered only a light bruising to one leg. Naturally, I feel
relieved, and I realize my friend will be able to perform on Thursday, so I
don't need to find a substitute, his girlfriend will be fine, he won't be lame
'
etc. So far, everything is logical. But a day later, strangely, I catch myself
starting to look for the telephone number of someone to replace Federico,
or I say to a friend, "Poor Federico, always driving so carelessly."
In other words, even ifl erase or correct the essential fact that Federico
did not break his hip when he was driving, it's hard to correct all the
implications that grew out of the fact, especially those further along in a
logical chain and recorded in my memory at a less conscious level.
This has happened to me on many occasions and, through conversa-
tions and observation, I've discovered that it happens to others as well.
I call them Persistent Memories, immune to the erasure of the fact that
caused them.
I believe that the mechanism producing this anomaly of memory is the
same one at work in unfulfilled promises. When we announce that sorm.:-
thing will happen in a certain way-/ will not touch the deck-we do
fumly and convincingly, and the spectators begin to construct direct, indi-
rect, conscious and less conscious consequences. Later, as events develop,
they may be able to correct the circumstance-He grabbed the deck-if
they consider it an important point, although this is very unlikely, as they
-inthe emotions and procedure of the effect. But in their
ersed .u.•
will probably not modify all the imagined consequences of
zytcyh .
•tiallY promised event: The magiG seen was not based on manipula- n
the magicians performance was extraordinarily clean, etc. .
don't really know why this happens, but with mor;e than a httle
rity, 1 will jump to a possible explanation: I propose t~at several con-
ons among neurons are formed, and neural networks are created.
e produce sensations and ideas, so that later, when th•e initial event is
cted, not all the chains of connections are modified, allowing those
cted consequences of the initial event to remain in the memory. In
case, I believe the important thing for us is that, applying it to magic,
orks like a charm.
I Close the Parenthesis.)
turning to our subject of impossible promises, I think great care should
taken in maintaining the proper balance between what is promised and
at is finally achieved. It's quite clear that, if it's easy to remember what
promised and to perceive the differences from what was achieved,
stration and a lack of trust will arise, which our spectators may even
neralize, applying these feelings to other moments or statements by the
49
gician that were, or will be, truthful.
Any citizen nowadays is aware of the cynical abuse-at times blatant,
t others subtler-of this technique. It occurs to a large extent in per-
sonal and party politics and in the promised political programs. Note how,
despite their repetition and manifest falseness, we keep fall~ng-some-
times, many times-into the same trap. A certain sort of advertising, the
super-sales and the evening televised talent-contests are other examples
we all know well. Luckily, our application has better ethical objectives:
playful, artistic; we are producers of illusion and happiness.
49. See Chapter 5 on "Dramaturgy" and especially the section on "Emotions"
(p. 187), where I analyze the use ( dramaturgic, in this case) of impossible
promises and divide them into categories of fulfilled and unfulfilled (totally or
partially). In those promises I intend to be forgotten, they are verbalized, not
mentioned again and therefore are forgotten.
 n of impossibility produced by the method and the circumstances
I believe that one of the secondary effects of our magic lies\ ·
. . mge e it seem impossible. I am referring to the sensation produced by
ating a healthy wanness by proving we are not as immune to deceptio
t performed under the promised circumstances, since the spec-
we tend to believe. If we can be fooled by things we see with our own
should forget, not perceive nor fix in their memories, the actual
while alert, after having been warned of their admittedly false nature, we
stances that are encountered later, during the tripk. The promise
To continue our examination of factors that improve what is evok
d be made with certainty and assertiveness, taking for granted that
from memory, I will now describe and comment on a technique prorms
be fulfilled. This makes the spectators feel the pqwer and fascina-
some paragraphs ago. It is a precise and versatile one that can be used
f the effect even before they have witnessed it. T~at sensation will
achieving our three objectives: the reinforcement of positive conditio
corded almost as an experience in their sensory memory (the neural
the erasure of negative conditions and the creation of memories of 80
ork?). And, except where there is strong evidence to the contrary
thing that never happened. It's a technique I have fine-tuned for the p
obvious failure to fulfill the promise, it will enhance what actually
thirty years and constantly use with magnificent results. I call it:
ens, the events later seen, amounting to a more impossible and fas-
·ng final sensation: adding what was promised and believed to what
The Mnemosyne Staircase
witnessed and perceived. Let's look at an example (From card magic?
In homage to the goddess of memory, daughter of heaven and :rrect!). But please read it as if you are a total layman regarding magic.
earth, Uranus and Gea, and mother of the Muses, no less! "I'm going to show you evidence of an incredible sympathy of thought.
u will shuffle the deck as much as you wish. One of you will then think
This technique, as I've just mentioned, is used to reinforce positive mem-
a card, and another will think of a number-and, without me touching
ories, make people forget negative ones and create positive memories of
deck, you yourselves will.find that at the number thought of by one of
actions or events that did not occur.
u is none other than the card thought of by the other."
Its application begins before the start of the trick, by studying, con-
I suppose that you, dear reader, have noticed the sensation this prom-
ceiving and creating a structure for the trick that makes it possible and
produces just reading it, especially if you have managed to forget your
desirable to use this Mnemosyne Staircase. The effect should be strong,
owledge of tricks and moves .
powerful, desirable, fascinating; the method unthinkable, unfathomable
.The point now is not to disappoint or frustrate, which is to say not to
within the conditions it will develop, and its structure capable of resisting
produce disillusion, because several parts of what has been promised will
logical analysis, keeping in mind refined and precise technique as
as the psychology of perception (misdirection, timing, etc.). In short, remain unfulfilled:

construction of this Staircase must be worth our time and effort. Two decks are openly used.
Let's then begin to climb the Staircase. One of them will be shuffled (falsely) by the magician, not by the spec-

On the first step we find the impossible promises that, as has been tators, although they will remember having shuffled the cards.
» The card will be selected and removed from the other deck, not just
mentioned, could be totally or partially unfulfilled. Our objective is that
this breach in fulfillment avoids producing frustration or disappointment, thought of
>> The magician does touch one of the decks to false shuffle it. And he
thanks to the unfulfillment going unperceived, or part of the promise being
forgotten by the spectators. The effect will be remembered as will the touches the other one for the selection of a card.
'
 the other hand, there are parts of the promise that are true or Will
seem so:
» One of the spectators will freely think of a number.
» · From the moment he thinks of the number and names it, the magician
doesn't touch the deck from which the number will be counted.
>> The selection of the card will seem totally free.
For those who don't remember the method (devised by Louis Gombert
and Al Baker, and I believe somewhat enhanced by yours truly), I'll
describe it briefly. We'll get into its details later.
Two decks are used. One is handed out for shuffling. The other, set up
in Mnemonica order or in any other memorized sequence, is false shuffled
by the magician. 50 The deck shuffled by the magician is handed to someone.
This person puts it into its case and keeps it in a pocket. Someone else
freely thinks of and names any number from one to fifty-two. The magician
takes the deck the spectator has shuffled and, as he shows it well mixed,
he secretly searches for two cards. These match the cards at the chosen
number in the stacked deck in the spectator's pocket, counting from the top
or bottom (my contribution). In other words, if fifteen is named,. he finds
the cards corresponding to Positions 15 and 38 in the stack, 38 being the
complement of 15, obtained by subtracting 15 from 53. If fifteen cards are
counted from the bottom, we would arrive at Card 38 in the stack.
These two cards are forced on a fourth spectator. It is announced that
he will freely think of one of them and that that card will be found magi-
cally positioned at the number thought of in the deck the first spectator is
guarding, which is inside the card case and in his pocket.
The person thinks of one of the two cards and names it. He is emphat-
ically given a chance to change his mind and think of the other card. Once
he has freely settled on a card, the guardian of the other deck takes it from
50. I have and perlonn other, more sophisticated versions of this trick in which
' say that he shuffles or he cuts when the spectator actually does it; and
the spectators appear to shuffle both decks, thanks to a subtle deck-switch.
One of them is described in Mnemonica (p. 207), but for this example we will
have one of the decks shuffled by the magician.
ocket and removes it from the case. The magician approaches to take
p . di
e deck-but he suddenly stops and steps back dramatically, remm ng
ecyone that he promised not to touch it. The spectator then counts the
ds himself, one by one, until he reaches fifteen, while holding the deck
e down or face up, as the magician has suggested, and as is convenient
the success of the effect. When he reaches the fifteenth card-or the
ifourteenth, if he's counting face up-he is instructed 'to stop the count
yVithout looking at or showing the card at number fifte~n. Always remain-
.ing well away from the cards, the magician sums up, concisely but clearly,
what has been done so far (a prior overview of the effect). He then asks
the person to show the face of the card at the fifteenth position: it is the
exact card thought of!
As we can see in this example, we have made a fantastic and impos-
sible promise that is only partly fulfilled. Yet, going up the Mnemosyne
Staircase step by step, we attempt to make the final sensation correspond
to the secular miracle (the wonderful effect), just as it was promised. Let's
take a look:
as described)
The Foot of the Staircase: The rn1m,uu~
Then come the three steps of the Staircase:
First Step: True or False? (Ambiguity)
Here we will attempt to refer to the false facts in an ambiguous way. Say
something like this to the first spectator: "You shuffle this deck. Shuffle it
a lot. We'll shuffle this one." You false shuffle the second deck, then hand
it to the second spectator while you ask the first: "Did you shuffle well
and thoroughly? Yes? Please cut the cards and complete the cut." Then,
to the second spectator: "Shuffling is not enough. Cut and complete the
cut as well. "He complies.
You can see that all these statements are true-ambiguously true. You
you say we shuffle when you do it. No one will object, even mentally, to
these statements.
 170
Second Step: False with True (Stating Something
False and Linking It to Something True)
This step on the Staircase is wide and long, almost a landing. You make
link between false and true like this: "And now exchange decks ... like tlta
very good. And each of you please cut the deck shu.ffted by the other." The
do. "Perfect. Let's put one of them into the case. "You take the stacked dee
the one now held by the first spectator, and cut the first card of the stack to
the top (glimpse and cut or pass). Tell him: "You'd better put the shuffled
deck into the case yourself. And put everything into your pocket. The first
spectator, the one who really shuffled a deck (the unstacked one), puts the
deck he now holds (the stacked one, false shuffled by you) into its case.
You have already stated something that is not true: that both decks
were shuffled by the spectators. They only shuffled one; you false shuffled
the other.
You ask the second spectator to thoroughly shuffle the deck he is
holding. While he shuffles, really shuffles, his deck; you have a third per-
son think of a number: ''Please think of a number from one to fifty-two.
Why from one to fifty-two? Because the deck you shuffled thoroughly ·
[you point to the first spectator], and cut, and have in your possession,
contains fifty-two cards."
You have said, "you shu.ffted thoroughly, and cut, and have in your
possession" while pointing at the first spectator. But the "you" is only partly
true. "Cut, and have in your possession" is true, but "shu.ffted" is not.
You continue: "By the way, you [here uniting the first and second
spectators] shujfied thoroughly, right?" They confirm, poor them!
Still on the same broad step of the Staircase, you continue: A new
(fourth) person freely selects two cards (which you freely force on him)
and, while he chooses one of them (this time, really freely), you say: "Now
think of one of these two cards, and the card you think of [precisely the
card he chooses mentally] should be, or will position itself, at the chosen
number in the deck that he [you point at the first spectator] shujfied, cut
and kept in his possession, and which I've never been near, right?" If
the last phrase, "which I've never been near'; is said while looking at the
171
spectator, the "guardian", he should support your "right?" by a verbal
ation or by nodding. If all this is achieved, you will have continued
he second step, again binding something false to something true. In
tion, you will have made a false statement and the spectator will have
edit-that he shuffled that deck-bringing everyone to the third
Artistically, however, ambitious as we are, we want even more:
ird Step: Only False (False Statements
e Made an~ Confirmed)
stead of looking at the first spectator for affirmation, you direct your
estion, as if by mistake, to another spectator, a neighbor of the one who
uffled. When you see his gesture of puzzlement or disagreement, you
to him: "Oh, I'm sorry. It wasn't you who shujfied ... " Normally the
t spectator, the one who did shuffle, will interrupt with something like:
twas me who shuffled." How wonderful!
In any case, you now give your pre-effect overview, restating every-
ing: ''He shujfied thoroughly [you point to the "guardian" who has just
ounted to the fifteenth card], cut, kept the deck in his possession, and
didn't even get near. Have I touched it?" You point to the cards from
·.a distance, leaning back and extending both palms wide open in front of
you. The answer is always, "No."
In this way, you have established the "truth" of progressively less true
statements. You have even achieved verbal confirmation from the specta-
tors. It has been established with total certainty that the dee~ in which the
card and number match was shuffled by the spectator and not touched
afterward by you. The effect of a freely selected card-which included
,,,
the option of changing it-turning up at a freely thought-of number thus
becomes, I believe, an authentic miracle.
A Few Additional Comments
This same Staircase procedure can be used to establish that the card was
thought of, which is true regarding the selection between the last two
cards, although those were selected physically.
N
Furthermore, as I mentioned earlier, at the end of the trick, during
applause, I make a recap with gestures in which I include, among ot
things, the action of shuffling cards in the hands while I look at the
spectator (the "guardian"). I also rub my open palms together and e:xte
them outward again while I shake my head, signaling that "I didn't tou
them". This reaffirms the most important of the false facts and helps t
spectators, during the pause for assimilation, to "remember" them.
With that, you will have established as true three false condition
while at the same time having reinforced through steps memories of th
true and important facts. We needn't refer to those facts having little or n
importance, as we wish to keep things simple and interesting.
To the technique (false shuffle, force of the two cards), the advanc
preparation (the stack) and the mental activities of the magician (know
ing the stack, mental subtraction of the named number from 53), we hav
added the Mnemosyne Staircase, which rewrites the process of the tric
making people remember things that didn't occur and altering some 0
those that did to our advantage, in favor of the magic.
Summing up:
The Mnemosyne Staircase begins (though not always) with the
impossible promise and ascends by three steps: ambiguous statements,
verbalization of false and true facts together, then false statements by
themselves.
Now that we've gone up the three steps, culminating the Ascension,
we have reached the Open Heavens. It's a triumph of imagination over
reality to let us into The Rainbow. There it is. Should we go?
A Warning
I proper care or method, my system of The Magic Way, explained in my book
The danger I believe we should avoid like the plague is to transfonn the
trick into a reiterative, complex quackery that creates confusion in the
effect. ("Confusion is not magic," Vernon used to say.) The use of this mar-
velous escalator of magic, the Mnemosyne Staircase, should be strictly
limited to special cases and essential facts.
• warning applies to the overview before the effect, often con-
1s
in the disastrous anti-contrasting parenthesis, as Ascanio called it
51
magnificent and precise termiriology.
have just learned how the following three proposed objectives are
Qmplished: (1) Reinforce the memory of positive conditions (with
r overviews and after-effect recaps), (2) Cause negative conditions to
forgotten and {3) Cause what never existed to be remembered (impos-
promises, Mnemosyne Staircase). All these are also enhancers, along
others from The Comet Effect. We come now to two techniques that
plement those already discussed. One is the promised Emotional
ers, the other is The Work of the Magician after the Session. Let's
katthem.
e Emotional Erasers: an Encoder and Eraser of
ort-Term and Long-Term Memory
y years ago, I learned something that clarified for me a certain phe-
menon I had been observing in my. magical experiences: There were
emories that, although well fixed, were forgotten by the spectators as
ell as by me.
Here are some examples:
During my performances, it happens, as I suppose it happens to
th.er magicians, that I think of something interesting for: the session;
ometimes a detail for misdirection, other times a funny line or a clever
~ .
. By the way, I would like to emphasize here that the danger of excessive com-
plication, of adding confusion and boredom, is amplified when using, without
of the same name. The Magic Way is extensively applicable to only very good
complex tricks, the secrets of which are probably already concealed. Balance
is the concept underlying the Greek classics. It can also be the solution for
The Magic Way and for the application of the Mnemosyne Staircase-and for
all other techniques and theories in this book. .. and perhaps for life.
N
phrase that adds drama or poetic fascination. I emphasize that t
are things that come to me during performance. And here I ope
parenthesis:
~ I consider the greater part of my session to be "improvised" as far
as patter, dramatic lines and comedic ones are concerned. I never
set out to think of or write these things do:wn. Instead, I gradually
add those lines and ideas that I improvise in every performance
and that have worked well. So it progresses, until I've formed a
complete body of effective gags and dramatic lines. It could be
truthfully said that almost all the jokes and patter are "improvised"
in the sense that they grow or have grown out of improvisation.
My objective in developing a presentation through improvisation
rather than reason is to achieve and maintain the freshness that
suits my persona and my performance style. End of parenthesis.
For years and years, I audiotaped my sessions so that I could recov
the good improvisations later. Sometimes I used video recordings,
that I could watch myself to critique my performances and learn. Late
many years later (that's the good thing about being in magic for over
years; there is time for a lot of things), I grew to prefer asking whoev
came with me to the sessions (my girlfriend, a helper), and was famili
with each of my tricks, to remember the ad libs I made, whether word
or actions, and remind me of them afterward. This method is extreme
fruitful, at least for my style. Sometimes, though, when I perform, I don'
have a knowledgeable companion there to help. The first few times
happened, I thought I'd try to remember the successful improvisation•
myself. But at the end of the show, not only had I forgotten them, qui
often 1 didn't even remember I had to remember something. I thought i
was due to a lack of attention or divided attention during the . ~~.-.r,TTI '
sation: I thought of something and said it or did it, but at the same time
I was alert to the regular development of the trick Magic demands, a
we know, great concentration from the performer: watching and seein
how the spectators react, feeling their amazement and astonishmen
ing techniques with the hands or body or executing other secret
creating moments of tension and relaxation, including secret
' '
during the relaxation, etc. · n
·zing this,·I decided then that, when I improvised something I felt
od, I would pause briefly, if the trick allowed it, and fix the improvi-
in my mind by mentally repeating the line or mumbling it to myself.
suit was a persistent failure in evoking the memory. At the end of
sion, I managed to remember that there was so~'ething to remem-
t not what it was or how the improvisation had occurred.
e same thing happened when, in a particular trick, I tried to remem-
cards I had glimpsed a couple of minutes earlier. More times than
d, I missed one of the cards. Either I couldn't remember it or I mis-
bered it.
he same thing happens occasionally, as we all know, to spectators. At
most important moment of the trick, when you ask them for the name
e card they saw, they have forgotten it.
Thinking it over, I saw that the problem was not in momentary
ding. It was that what I was trying to remember was recorded, as is
rything we see or perceive, in short-term memory, and when I went
'th other actions or events that demanded my undivided attention
that raised certain emotions in me (such as doing the Classic Force or
ching, not without difficulty, for an appropriate spectator to help in
'ck), I was preventing the event from passing into long-term memory,
ich, as we know, is the tool that fixes the facts in the memory. Despite
attempting to encode the facts strongly through mentai repetition, I
d I wasn't able to evoke them a minute later (as with, for example,
psed cards) or at the end of a session (the improvisations of the day).
I found a very practical remedy for remembering glimpsed cards. I
y something aloud that will later remind me of what I have encoded
impsed). For example, if the glimpsed cards are 19 and 8 in my
emonica stack, I say: "Look at the cards. You should remember your
rds for a short time, no more than eight years and nineteen days. "
en I pause for several seconds while the spectators laugh at this. The

storage in long-term memory is guaranteed, thanks to the pause an
auditory and muscle memory (the loud verbalization). 52
Everything is fixed in immediate memory and only goes into long-t
memory if the brain decides it's important. But here we must be c
ful, because this process can be derailed if an emotion or strong dem
of attention to. something more important occurs immediately after
fact you need to remember. By "immediately" I mean within twenty
thirty seconds, which is about as long as short-term memory holds t
facts before passing them to long-term memory. A new or sudden emoti
during those seconds will interrupt the process of moving the fact fr
the one form of memory to the other.
This "discovery" has served me very well in magic, because it provid
a "sketchpad for memories". I can sometimes allow something strange
unusual (but useful for the method or the magical effect) to be observ
if I immediately produce a strong emotion, an unexpected surprise,
astonishing magical effect, an intentional accident, something frighteni
or very funny. Any of those emotions can erase the negative memory
not allowing it to pass into long-term memory. For example, let's say that
a spectator doesn't take the card I've hoped to force. First, I give him
the chance to change it for the next card (the force card), but he doesn't
accept the offer. I then take his card from him and bury it in the deck
without letting him see it, saying, "Don'tforget the card .... Oh, you didn't
look at it? Well, take another." But before he can do so, I yell, startling
him, and excuse this with some silly or funny motivation. This little scare
causes him to forget my mistake, even if it wasn't perceived as one. We
are not only employing misdirection, divided attention and
cover, but a new tool: erasing certain facts, as needed, from the
tors' minds.
To confirm and elaborate on the above, let me tell you something I
experienced that is related:
I went to a magic festival with the late, great Pepe Puchol (my true
mentor and magic father). While there we filmed the act of a magnificent
52. I even mentally repeat, during the pause, "Eight, nineteen, eight, nineteen."
ator (there was no video in the 1970s). Puchol filmed while I atten-
atched the act. On two occasions, little accidents occurred: At one
e manipulator flashed a load uf coins, and at another some back-
cards. I mumbled an "Uh!" at each slip. Puchol, who had his eye
to the camera, could not notice these flaws throug~ the viewfinder.
heard my almost inaudible "uhs". The act conclud~d. Puchol asked
Why did you go 'uh' a couple of times?" "Me?" I answered, surprised.
absolutely." "I can't remember." :
took a week to have the film developed. When we received it, we
hed the footage together. On reaching the two flashes, I again said
" and Puchol jumped. "Ah! The same 'uhs' as when we saw it in the
ter." My "uhs" had undoubtedly occurred during those same flashes
. Yes-I realized-of course. That's how it must have been! Why
d I have forgotten those mistakes by the end of the live performance
e manipulation act?
Since then, I have verified the phenomenon while watching other per-
ances, specifically manipulation acts, including my own routines, such
the Paris Act. These acts consist of many specific effects, and many of
m flow quickly from one to the next: Something appears, disappears,
ges, then comes a new surprise with something different, etc.
Here is my analysis. I perceived the flashes or mistakes (the coin load,
eback-palmed cards), but a new unexpected magical effect immediately
lowed-and in a well-constructed manipulation act, that immediate
ect will not be the one produced by the secret load, the one that was
etingly exposed by mistake-and the emotional impact of that effect
uperb! How wonderful!) prevented me from passing the memory of
e perceived little flaw to long-term memory. Because the flash is not
onnected to any effect immediately perceived, the brain judges it unim-
rtant, and the emotional surprise erases the mistake in memory. I didn't
i'Ven remember having mumbled, "Uh."
This happens in many cases in those acts that I call "sparkly", in which
ere are many effects and surprises in succession, and therefore different
otions are produced. And this forgetfulness doesn't happen just to me:
N
After watching a manipulation act, I have asked magicians and lay fri
in the audience about their memories of the act, and they recall few or
of the mistakes and unnatural actions that they almost surely percei
Those mistakes were erased or lost before they could be passed from
8
term memory to long-term memory. When I watch the same act a secon
third time, I'm not affected by the smprises, since I now expect them
.see and remember the flaws and suspicious, urinatural gestures. ' ■ 11'111.. T""-"""'ill..,._•.... ~....... '"'
This mustn't be considered an excuse to leave our routines unpolis
and unperfected. We should not say to ourselves, "It doesn't matter if•·
seen. I'll erase it later." Rather, this knowledge gives us an extremely po
erful weapon that brings us some peace of mind in case of an accident
little human error (we only play at being gods, while we are human) t
allows the spectators to see something they shouldn't. If the trick allo
it, we should follow up immediately, through actions or words, to creat
surprise or provoke some emotion, one different from that of the mista
I will give an example of this in a few paragraphs, when we come to "
Almost Incredible Experiment".
There might seem to be a problem when applying emotional erase
The magical effect will produce, we hope, a strong emotion, and we c
tainly don't want that emotion to erase anything from the desired effe
But this isn't a problem if it's an emotion that doesn't fight against wh
was seen, the magical effect. As we have discussed, the complement
emotion actually helps to fix the effect in the memory. The emotion
be an "eraser" only if it is contrary to or very different from the sense an
nature of the memory we want to erase.
The reverse is also true. If we want certain conditions within
development of a trick, as well as the magical effect they produce, to b
left in long-term memory, we should be very careful not to erase the
not to prevent them from passing to long-term memory. We should ma
the necessary pauses (without other emotions, without actions or words
right after what we want fixed and kept in the memories of the spectator
We should leave the magical emotion alone, without interference, soth
it immerses the spectator and allows him the enjoyment, the permanenc
e future (improved) recollection. All of that, I believe, is equally
ble to the pause for assimilation after the effect and the pauses
n tricks. We will deal with this matter in detail in the section titled
Beloved Art of the Pause" (p. 310).
t's now look at the promised experiment ...
Experiment
now tell you about one of the experiments I have carried out dozens
es during the past few years, using laymen and very knowledgeable
ians as my subjects. Its purpose is to test the strength of memory
g. I will be with a group of people (no matter how many). Without
g attention to what I am about to do, and having used the cards in
·or trick, I take one face down between the tips of my right ring and
fingers as I continue to talk about something. I then ask, ''Have you
iced the strange reflection in my glasses?" I raise my right hand, with
palm turned toward the spectators, to grasp the right temple of my
ses. I move the hand and glasses together while I point with my other
d to the left lens. Due to the position of the right hand, the face of the
d it holds is exposed to the spectators. I wiggle my glasses again and
eat the phrase, varying the wording: "Don't you see the reflection of
window?" or "of that unusual lamp?" I do this another time or two.
ring this, the face of the card is visible to the audience for ten to fifteen
conds, in the center of their frame of attention, a couple of inches from
lens being observed. I even use the card as a pointer, touching its cor-
r to the lens of the glasses, always keeping the right hand and card in
otion. I continue to talk and move, showing some amazement at the fact
ey can't see the special reflection.
I then lower my right _hand with the card. Barely looking at it and
"thout giving it any importance, I leave it face down on the table. I imme-
tely feign an accident: I have left a glass holding a little water on the
le. I nudge it "accidentally" with my hand and catch it in the air, allow-
g the water to spill, as I yell, "Careful!" This creates fear and sometimes,
hen people see the accident isn't serious, laughs. If I don't have a glass
 handy, I move foiward to hand my glasses to someone and I bump explain to them that I not only showed the card, but I held it in
something. I drop my glasses onto the table, or the floor if there is tural position, between my ring and little fingers, that I moved
pet, and I almost step on the spectator's foot: "Careful! Oh, I'm sorry that would normally attract attention and that it was facing
1
I hurt you?" I pick up the glasses. No harm done.
almost fifteen seconds within the area to which I constantly
I let a few seconds pass as I refer to the little accident. Then eir attention: my glasses. In other words, all thf conditions were
pausing, I say, ''By the way, looking only at the back of a card [I po·' favorable for ·them to notice the card. '
the deck], we can't know what the card is: Logical. If I don't show :e secret of the experiment lies, as you may hdve deduced, in the
face, we don't know. " Now I look the nodding spectators straight in ' eraser, which is the spilled glass of water, my ~ost stepping on
eyes and address one of them who has shown his agreement with wh
tator's foot or my dropping my glasses. Those unexpected events
said: "You, for example, if I show you the face of that card [I point to
the passing of the memory of the card into long-term memory. The
card on the table], you would know what it is. But I haven't shown i
fades completely away. It is as if it had never existed, as if the spec-
you yet, right? No, of course not."
had never seen the card. Isn't that incredible as well as marvelous!
Then I ask the whole group the same question. Incredible as it
:understand the difficulty you will probably have in believing the
seem, most of them will not remember the identity of the card-an
I am reporting for this experiment. If I imagine reading a trick
addition, they can't even remember having seen the card at all. They c
on the fact that, after having shown a card for almost fifteen sec-
firm that they are sure I have never shown its face and that I didn't e
(fifteen seconds!), held in such an awkward grip, the spectators
have the card in my hand!
d not remember it, I would think it was a mistake: The card facing
Sometimes there are one or two who do remember having seen t
dience? Fifteen seconds? Must have been with its back to the spec-
card and even remember what it was. It largely depends on how observ
ts-or the author must be pulling my leg!
they are and if, by their nature, they were not seriously startled by
So I ask you, dear reader, to try the experiment for yourself. If you
pretended accident.
w the instructions, you will be surprised at the result and, best
Location can also affect things. If spectators are behind me or at
n, you will absorb the knowledge of this powerful magic weapon.
extreme side-angle, where they can't clearly see the lenses of my glass
will also be able to verify for yourself that, when you ask for the
there's a good chance they will note the card. When this happens, it·
, perhaps one or more spectators will close their ey~s or look up
excellent for the experiment. It often happens that, since most of t
recover its image, which persists in their immediate memory, and
group does not remember having seen the card, they become u,1.r'", o,. .,..,".,t-.,..
1 ',.,'-""'
respond with the name of the card or will at least partially identify
or incredulous when I tell them I did show its face. Still not having
f'Let me think. ..It was black, wasn't it? A high card, I think. . .! really
it, I ask, ''Did anyone notice the card?" If one or two people say
n't watching carefully." The rarity of people who remember seeing
I have them name it and I show it. That proves to the other people in th
card, let alone correctly recalling its identity, will prove to you the
audience that their skepticism is unfounded, and that I'm being trut
wer of emotion to erase a memory.
even if they can't remember it. It therefore seems incredible to them.
could see the skepticism in their faces when I revealed the truth. Luckily, one
53. One of the first times I carried out the experiment, during a lecture for abo of the group was videotaping the lecture. We rewound the tape, so that every-
a hundred British magicians, no one remembered having seen the card, and one could verify what had happened.
 I have been doing this experiment for years in my seminars anct
tures for magicians. I get the result described every time, and it cont·
to astonish me. Best of all, I often apply the principle in my magic sessi
and it works! For example, after quietly ditching a palmed card in my b
pants pocket, I briskly raise my hand with the palm toward the specta
and yell, "Oh! I know!" startling the spectators a little. "Yes, I think t
.signed card left the deck [I point to the deck] ·and should be-perhaps
in my pocket. Please look for yourself. I don't want to bring my ha
anywhere near the pocket. Is there a card there? Please take it out-Yo
signed card!" The fact that I brought my hand to my pocket is tota
erased from the spectators' memories.
End: The the Magician after Session
As we have seen, it is good to add the elements we've just studied to an:
worthwhile trick, since they increase the quality, length and brilliance
The Comet Effect. But we mustn't forget that there is another magnifice
technique for enhancing The Comet Effect. Once the session is over, th
magician can add certain comments, as if verbally recalling some part 0
what happened in it: "I still can't understand how you could figure out
that the Six of Spades would be in the fifteenth position, and after you
had shuffied .... "
It's a technique of immense magical power, and I apply it time after
time with magnificent results. This is the work of the magician once the
trick or the session is over.
If it's a session of close-up or parlor magic after which direct com-
ments from the magician to the spectators are possible, it is very
and effective to employ such comments to influence the positive facts in
the trick procedures and to stress the resultant effects. I always try to talk
with the spectators and comment on the effects at the end of my sessions.
Even in theaters, I come down at the end of the show, in front of the stage,
to greet fans waiting there, sign autographs and have pictures taken with
them (a gift of happy moments for them and for me, with hardly any effort
on my part. Isn't this profession wonderful!). Between the autographs and
I ask one of them, letting everyone hear me, "Which trick did you
t? The one with the phone? How about you? The Spirit Cabinet?
That gives me invaluable feedback on the four to six tricks that
sed them the most. But here I employ the technique. we could call
session chat", in which I drop comments in a voice f1,Udible to every-
such as: "Good heavens! The cards are never exhau~ted [and I mime
stures of Six-Card Repeat but with my palms to~ard the specta-
... The other day, the knife changed color five times'in the hands of a
in the audi~nce, without me even getting near it, cind then it turned
a giant knife, and the woman was so scared ... And how did you
age to get the deck in order? I never touched it myself, but maybe
wanted to help me, but to tell you the truth, I didn't see you do it.
're so fast. Thank you ... You guys have such incredible power to be
to think of a card and make it rise out of the deck! Yesterday-no,
it was the day before yesterday, it was on Thursday-I walked
'
my dressing room and there it was: the last card thought of in the
sion was very slowly rising from the deck. "
Intelligent readers (all of you, so don't be offended) will clearly under-
d that in this way we can achieve a huge reinforcement in the clarity
the effects and lasting memories of them, and of the impossibility of
method, an impossibility never referred to or directly evoked, but
ggested, remembered in passing. Thus we rewrite some aspects of the
sion, improving details of some effects, making others legendary. 54 All
is is, I believe, of the greatest artistic interest because, let's not forget,
e important thing is the magical sensation, what the spectators feel and
erience; in other words, The Rainbow. Nor should we forget that, to
4. The incredible Jimmy Grippo was a master of this technique. With it he man-
aged to transform himself and his narrated effects into truly legendary ones.
In 1982, I experienced it myself, body and grateful soul. Ascanio, Juan Anton,
Pepe Carrol and Anton Lopez were my joyful companions on a trip to Las
Vegas, during which we found we were not immune to the power of the magic
or to the fascination of the verb "magish" and that magnificent ·"magisher"
who was the great Grippo.
 reach The Rainbow, they will need a guide to dreams, the magici
lead them there, along The Magic Way (without False Solutions, L
. Solutions or Illogical Solutions). The Bull of Logic should have go
sleep (temporarily), letting the Winged Horse of Imagination so
which we, aU of us, rode and enjoyed the illusion, the enchantmen
the marvelous fascination of magic, now ( during the trick) and al
( after evoking it) and forever and ever. Amen.

Chapter Summation
Aside from manual, corporeal and psychological techniques (mis
tion, parentheses of forgetfulness, The Magic Way, etc.), we have elem
that are "boosters of positive memories" (persona, effect, symbol, evo
hooks: The Comet Effect, including the prior overview, summation
post-session chat), some "creators of inaccurate or totally false me
ries" (impossible promises, the Mnemosyne Staircase) and a draft cop
unwanted memories ( emotional erasers).
Will we be able to create true secular and magical miracles in this w
It's your turn.
 EMOTlONS

Kind of an Introduction
R many years I have studied, applied, practiced and reflected on emo-
ns in magic, which is to say its dramatic side, its emotional incarnation.
.am referring not only to the magical emotion, which I've addressed
ly in this book, but also to the different emotions felt by the specta-
rs (doubt, surprise, amazement, anxiety, joy, fear of failure, etc.) that
e part of the magical effects and are caused by them. I am disregarding
e external emotions such as laughter, lyricism, drama, that arise and
othe the trick from outside its development; those that the magician
dd~ and that are not produced by the structure of the trick or the nature
f the effect.
As I began to study the intrinsic emotions, I found that the two most
haracteristic ones, regarded as companions to the revelation of a magi-
al effect, were surprise and suspense. I later went on to study others that
:a;re very powerful and that leave a mark on the spectators, such as hallu-
:cination and the body of sparkling, magical effects, small and brief, that
roduces a sensation of an ongoing rain of magical arrows.
N
, t· "What is cinema?" the great film director
Little by little, I studied and rehearsed practical applications of Godard s ques 10n,
"It's emotion in motion." The very clever Alex
knowledge of other possible intrinsic emotions. Among these were Fuller respond e d , - .
·ct "Not a moment without interest" (emotional mterest, of
ating apparent errors that unleash a momentary anxiety, followed by • sa1 , . . • l"
. And the very profound Vernon said, "Magic m~st be emotiona .
.pleasure and a rush of maternal instinct; and situations in effects t
). haps dear reader you are asking, like me,! "But why? What
build to excitement and frenzy. I also tried to ascertain how an effect .t per , · ' . _·. .
. f ? Isn't it enough to end with the 1mpos.s1ble and fascma-
be structured to produce these emotions, to provide an emotional van ot1ons or. • .
t . of 'It can't be but it is! And it's wonderful, like
. that maintains and builds dramatic interest in a sometimes lengthy de with the sensa ion ··· - .
I

opment of a trick but that, I repeat, uses emotions that arise from Wit
the trick; they are not added Gokes, rhyming patter, storytelling) or p
duced by stagecraft (lighting, music, visual elements).
I eventually arrived at twenty-five types of situations that boo
different emotions, all produced by the effect of the trick and its deve
opment, as well as by the emotions the interpreter (the magician) fee
and by his inner world. I later added emotions related to the hidde
method (for example, when a spectator appears to discover the secret)
the persona, the personality and character of the magician, and his rel
tionship to the audience and with the assisting spectators; these asid
from emotions of different types, always related to the inner elements o
the structure of the trick or session.
I eventually arrived at 165 different types of possible emotions that
can be caused by a trick, or by several tricks or a routine or a session.
I then tried to tame such an overwhelming storm of emotions into some
kind of order. I sorted them and organized them. I grouped and synthesized
them, through painstaking analysis. I tried it out in practice (so important!),
added, removed, cropped, merged, selected and summed it all up. And
I am now, full of "emotion" and writing and telling you about what I
Obviously, some of the features I discovered are quite evident, but there are
also many less apparent concepts that can make things clearer to us.
There is admittedly some subjectivity in all this, but I have attempted
to be rigorous in my analysis. There might be conclusions of little use,
most have proved, at least in my own repertoire, that by clarifying
stressing the emotional elements of an effect, an increase in the_ artistic
quality is very noticeable, even outstanding.
N
A Analogy
Please allow me a parenthesis in the form of an analogy. 55
Suppose they ask us to cast the actors and actresses for a movie. o
of the characters is a woman who must be stunning. She is a charac
that, at first glance, should make all the other characters and the audien
feel an irresistible attraction. Obviously, the analogy would be equa
valid if we had to select a very handsome actor. (I would not apply, to gi
others a chance.)
The audition begins: A woman walks in. What is most attractive abo
her? (Please take for granted that the same would apply to him.) H
body? Her face? In general, even if we are not aware of it, what mo
attracts us about her ( or him) at first glance is-her skeleton! If she has
magnificent, rounded, sensual figure, a beautiful face, but two extreme}
long arms that hang below her knees, she will seem, to begin with, no
very attractive. (I want to make it completely clear that in this analo
I am referring to her physical appearance, without mentioning her inne
beauty, which could be endless.)
So, the first thing is the skeleton, without deformities, flaws, defects
or excesses. Proportionate, solid. And hidden! Because if the skeleton
perfect, but we see it naked, without the flesh ... How scary! Oh, my God,
how frightening!
So it is hidden, then. But hidden by a body that is also proportionate
and adequate to the skeleton. The smaller the skeleton, the less flesh. A
body not too skinny, not too fat, sensual, attractive, exciting. (I'm getting
a little agitated.)
Enough of that? Well, no, maybe not yet.
What happens if we see that this beautiful body, with its good inner
structure, the ~keleton, supports a head with a horrible face: hairy
warts, a misshapen mouth, pointed ears and a diabolical gaze? I apolo-
gize, but not even in the times of my greatest need would I be physically
55. Remember that an analogy is only an analogy is only an analogy is only an
analogy.
ted to such a being with a body of Venus or Apollo and the head
We need an appealing, gracious face, and eyes that are
e1zebub · -
al, sweet or bottomless.
agic is the same. A trick must have a secret skeleton, a method that
•sible and unfathomable. This is the solid foundation of the effect. A
od mustn't fall apart and must be well proportion~d; I am talking of
structure of the method.
Then come its components: technique (manual, corporeal, verbal and
chological), the false solutions, the in-transit actions, the convincers
·ch I think of as "false witnesses"), crossing the gaze, the downbeats
upbeats and a very long et cetera, all of which Vernon, Slydini, Robert-
udin, Ascanio, Hofzinser, Ramsay, Frakson, Hugard, Fitzkee, Maskelyne
many others (maybe even me) have tried to analyze and synthesize,
n integrate and apply to the structure of the secret method of the trick,
skeleton.
And what about His Majesty, the Effect? And symbolism? In this anal-
the effect and its symbolism are the face of the woman, her beauty
d' all that shines in her gaze, everything her words reveal about her
king, her inner world and her spiritual self (no less).
is But we continue to complete: Method-the skeleton, proportionate
d solid. Effect-the face, gaze and voice, enriching and beautiful. And?
What would the body be? What would be its role in the analogy?
Because the skeleton is cold, even terrifying, it needs an attractive and
teresting covering of flesh. The flesh serves two purposes . The first is to
nceal the skeleton, not allowing it to be seen or even thought of. When
see a striking person, do you think of her or his skeleton? Are you even
onscious of its existence? Does it arouse you? (In that case, don't reread
;Freud; you have invented a new sexual pathology.)
The second role of the flesh in our analogy is to attract us to the
uman being.
So, there are two roles: concealment and attraction.
We are talking of that harmonious and sensual body that helps to
conceal, and even prevent us from thinking of, the skeleton, the secret
N
method. At the same time, it is an interesting body in all its parts, many
them attractive and, as a whole, appealing. That's the emotional body.
emotions touch us during the development of the trick, and the magici
through
' his magic and persona, makes us feel them and allows us to s
and experience, without distractions, the fascinating mystery of the rn
ical effect (the.face, the eyes, the spiritual self).
And the presentation? If it is understood to be all that which tends
·enhance the effect, clearly there would be elements of it integrated int
the emotional body. But that is usually not the meaning given to the te
"presentation". The common understanding of "presentation", fit into
0
analogy, would be the external embellishments of a woman to her per
sona: her clothing, make-up, hairstyle, jewelry... all those things she c
put on or take off, that she can easily change and therefore are the leas
personal. Obviously, such external elements can sometimes be used to
cover a flaw of the body or face, to highlight beautiful eyes, to insinuate
certain curves (that slit in the skirt, ahh!). But, important as they are in
the analogy, these elements would be less important than the others dis-
cussed earlier. In magic, these elements of the trick would be external to
it: music, costume, jokes, gags, stories, etc. Yes, they have a certain impor-
tance, but they are the least important ( or the least very important things,
but that's another discussion).
Summing up:
The skeleton (secret method): proportionate and solid, but concealed .. .
Concealed by the flesh of an exciting, interesting and moving body.. .
That allows us to see a beautiful face (magical effect) that conveys,
through eyes and voice, an enriching and fascinating spiritual world ...
And is memorable, like the tail of a comet.
But, let's continue. All said, when the magic-the impossible,
wished and dreamed, lived with fascination in reality, in the artistic
reality-is complete, it will eventually infuse the spectators' experi-
ence. They, on the other hand, will be coauthors, spect-authors and
spect-actors of that magic. The natural climax of a session would be an
almost collective near-orgasm, a magical ecstasy, where the spiritual
e mystical merge with the corporal, almost carnal, where mys-
. t .56
d joy coex1s
et's look at a practical example. A magician, performing in a tele-
show, says, "Count your cards. There must be about thirty." The
tor awkwardly, slowly, nervously counts: "One, t\.'V;O, three, four, five
-e are now already five thousand spectators who ehanged channels
e~:pthe movie has started or the game has ended], twelve, thirteen,
I
een... twenty [142 ,000 s:pectators have stayed tuned
, to the contest
the attractive game host, another 200,000 have headed to the bath-
' half a million check their phones], twenty-nine, thirty, thirty-one
two remaining spectators snore peacefully; one is the magicians
ther, the other his father].
Solutions? Create emotions and interest at these moments, at every
ent: "If there are fewer than thirty cards, I will have failed and I will
ave my head completely, right here and right now." Pulling out a barber's
ding razor, the magician opens it dramatically and brings it close to his
p. Or: "I will prevent you from counting correctly. I'll make faces-ha,
" Here the magician tries to fluster the spectator while he's counting
cards aloud. There are even better ideas, easily devised, that your cre-
·ty can dictate.
There is a danger that these added external emotions could be dis-
acting and break the magical atmosphere. They will be artistically valid
tly if there aren't any internal emotions that can serve the same function.
or example, in the effect of Weighing the Cards, the counti~g of the cards
an interesting proof of the magician's successful estimation or of his dis-
pointing failure. That emotional proof is intrinsic to the trick There is
•~ need, then, to do anything. The procedure of the trick itself takes care
f interest and the magical emotion.
If the spectators are magicians, they might pay attention, as magical anato-
mists to the skeletal secret method and be excited by it, although it offers
'
only a head for which tht body doesn't exist. But that, obviously, is not magic
but amusement for magicians, or a forensic study. This is nonetheless very
important for the development of our art.
 The point is, while the spectator's necessary slow counting ta
place, everyone should feel interest, curiosity, fun, suspense, joy, ch
admiration, even frustration, fear, sadness, challenge, risk or.... Our
0
,goal, the only final artistic objective of all this is to make the spectat
join us, willingly, eagerly, excitedly, on our journey to The Magic Rainbo
to the magical effect, the fascinating mystery, a trip through drama
.emotions to the final emotion of magic, turning the interesting and attra
tive into mystery.
What we try to achieve through emotions is to make people e:xpe
ence the feelings of: Oh! Is that possible? He won't be able to do it. Ho
is he going to do it? Oh, he missed! Oh, wait, he .fixed it ... but I saw t
trick. Wow! He fooled me, he toyed with me. It wasn't that. Come on!
much! So scary! He's not going to fool me! He's not pulling it off! Po
magician! Outrageous! That's dangerous! I'm amazed! How beautiful.
How poetic! Am I dreaming?
And end up feeling: Impossible! It can't be! It's incredible! But I saw
it! How wonderful! TVhat a beautiful andfascinating experience!
Which is to say, astonishment and fascination are experienced now
and remembered tomorrow, always, the emotions felt and magnified. And
all of it deep inside.
But also-and deeper-there is the joy and pleasure of the fulfilled
wish, of the dream come true, even though it is in a recognized artistic
reality, which is to say the fascinating experience of myth through symbol-
ism. No more ... and no less!
Let me comment further to better clarify the above.
When I earlier referred to the dramatic body, I should have ,:xrreiTT..:n,
dramagic body. We are dealing with emotions, dramatic emotions,
grow out of, or come directly from, the trick, the magic. In other words,
we are not dealing with emotions added externally to dramatize· the trick
but rather those that are incorporated in its magical procedure. I say
again, it's not about adding a romantic story or a joke or a dramatic pre-
sentation to the trick; rather, it is the (dreamed of?) emotion of a surprise
caused by such effects as the appearance of a hen's egg in an empty bag,
parent failure in the revelation of a selected card, or the sensation
· • g a vision when a metal ball fl.oats in midair, or the fear produced
unminent release of the guill0tine's blade that could sever the head
pectator.
think the most thorough and rigorous analysis possible of these emo-
can help us to make them stand out, to communicate them better
to structure them in the development of our tricks S? that they convey
ety, interest and poetic charm. As always with art, there are no dog-
. Everything is debatable and variable. But I believe such an analysis
be useful as well as provocative.
The study of this subject has brought me to formulate it in a style that
a scholarly semblance, with headings and subheadings. It may appear
rious and dull. It is not. Despite its methodical, pedantic format, it is
assionate attempt to transmit the accumulated experience of my many
s of considering, analyzing, testing, studying, commenting on, cor-
ting and applying these ideas, and observing the fantastic results they
re made possible in my own magic-stage, parlor and close-up-for
gicians and, above all, for the public. This happens not just on special
casions, but many times, in varying circumstances, for different audi-
ces, while I am in various moods. 57
This knowledge of what our spectators feel is not superfluous; it is
extreme importance. Let's remember that it's not about what we do or
w we do it, but about what the spectators perceive and what they feel,
d what we magicians also feel with an almost magical resonance.
I realize that much of what I will explain has always been practiced by
od magicians, based on their artistic intuition or on their own analysis.
othis you can add the change (positive, I believe) that has taken place in
. In this labor of analysis arid refinement of ideas and concepts, I have counted
on the infinite patience of my friends and magic colleagues: from Manuel
Cuesta, Aurelio Paviato, Pepe Dominguez, Antonio Malakatin, Ramon Riob6o,
Alan Marchese, Manuel Llaser, Luis Trueba, Vicente Canuto, Pepe Puchol and
others, all of whose enthusiasm for the subject encouraged me so much. My
deepest heartfelt Thank you! to yotl all.
my own magic throughout all these years, measurable by the spontaneo Analysis of the Emotions in Magic
reactions and comments of spectators and by my own sensations.
otions ·(or the situations that cause them) can be related to the effect,
is due largely to the live, non-analytical application, and the sincere, b
method, the magician or other circumstances: audience, helpers, cohe-
anced and (I hope) artistic handling of these dramagical emotions.
of the group, venue, music, previous atmosphere, etc. I will start with
I hope these ideas are not just illusions of mine but realities that c
emotions that arise from the type of effect and the way they are trans-
to some extent be transferred to your experience.
d by the magician.
I'll divide them into those that are produced before the realization of
magical effect, those that take place during the magical effect and
that arise after the magical effect.

The Emotions ( and Situations That Cause Them)

in Relation to the Effect

efore and During the Effect

How Does the Effect Arrive?
SUSPENSE
eludes: Hope. Anxiety. Doubt. Mental tension. Waiting. Impatience .... And

It can be Emotions ( expressed or felt)

Announced 58 Can he pull it off?
Hinted at, foreseen 59 Don't tell me that ... that ...
Wished for 60 I hope so!
Feared 61 I hope not!
Doubtfully believed Really? How is he going to do it?
Rejected as impossible62 No, I'll shave off my moustache if he ...
I'd commit suicide.
Delayed63 Come on! Let see! Let's see! ...
58. Card at Number (Gombert-Al Baker-Tamariz).
59. First moments of the final slow spread in "Triumph" (Vernon).
60. Final coin in Nest of Boxes .
.fil. Sawing a Woman in Half (Blackstone, Goldin).
62. Vanishing Birdcage (Buatier de Kolta). Blackstone's version with children's hands
touching the cage on all sides, and the forthcoming disappearance is announced.
63. Voluntary delay in revealing the face of the card at the end of a trick
N

.a.-v-1n1-r,a«;;;t,;:,Pl'1 or
2. SURPRISE It can be
;_I thought it was ajoke. 73 What ajoke!
Includes: Shock. Sudden pleasure. Unexpected joy. Horror. Tension-
Wow!
relaxation. Visual impact. Momentary doubt about the reliability of the Visual74
senses. Laughter or absurdity.
How an Effect is Presented
It can be Emotions ( expressed or felt)
64
a) Totally unexpected Wow! CHALLENGE
b) Different than expected: · eludes: Tension. Competitiveness. A certain aggressiveness. Self-assertion.
-Contrary to expected65 Look at that! Pride. State of alert. Drama and great interest.
-Different in time Emotions ( expressed and felt)
It can be due to
-Before expected66 Ooh! (with a shock) What!
The impact of the effect. 75
-After expected67 Ooh! (with a shock) The Magician's expression (verbal attitude)
-Different in space (not here but there) 68 Come on! Look! and promise when announcing the effect. 76 Let's see if it's true!
-Different in quality (I didn't expect that) 69 Come on! Oh! Like that? No way!
Strict conditions. 77
-Different in quantity ( a larger or smaller 78 Again?!
Repetition (of the trick).
number of objects than expected) I'm going to win.
A bet (wagering money or prestige). 79
-Stronger, bigger 70 Oh, ho, ho! He's not going to fool me!
Mental attitude of the spectator.
-Smaller71 Little laughs: tee-hee
c) Hesitantly expected: Warning! If the threat is excessive, either in strength or in duration,
-I didn't think it would work (bluff) 72 Give me a break! there may be some memory of the experience left in the spectator's
64. Instantaneous dove production (the throw). mind-an unpleasant or very tense recollection of the challenge-that
65. Coins through Table: They came up! (instead of going down). will later be very difficult or nearly impossible to erase.
66. In the Rising Cards: A card rises unexpectedly, before you say anything. A card is
divined and named while the assisting spectator is still showing it to the audience. 4. IMPOSSIBLE PROMISE
67. In the Rising Cards: A card rises after the magician gives up, following several Includes: Doubt. Distrust. Expectation. Incredulity. And if not fulfilled:
failed attempts. Laughter. Self-assertiveness. Disillusion and frustration. If· it's fulfilled:
68. Cards to Pocket: They travel to an unexpected pocket. Surprise and admiration.
69. Different from what was expected. For example: you announce the transfor-
mation of a coin and-poof! It disappears. 73. Vernon's Brainwave Deck, when presented tongue in cheek as an invisible
70. In the Rising Cards: They rise all together in a fountain (Buatier de Kolta). deck
Large ball produotion for the climax of the Cups and Balls. 74. Cane to Silk
71. Dai Vernon's "Climax for a Dice Routine": tiny die. 75. Buatier de Kolta's "Vanishing Lady" (Richiardi, Jr.).
72. Snake Basket ("Margarita the Snake"). I announce, "And now Margarita the 76. "This ring will link to the one you're holding, through the exact spot you indicate."
Snake will search and find the selected card. She will emerge with the card in 77. The Egg Bag with spectators holding the magician's hands.
her mouth, show it to one side, then to the other side, and then go away." Her 78. Rene Lavand's "It Can't Be Done Any Slower". The Ambitious Card.
little head suddenly appears with the card in her mouth. 79. Three-Card Monte.
 200
201
It can be Emotions ( expressed and fel can be Emotions ( expressed or felt)
a) Fulfilled
pparent failure:
-Not believed (beforehand) 80
I don't believe i Later proved a ploy86 He missed. Oh, no! He fooled me. 0
-Half-believed
What a scare! What ajoker!
-Totally fulfilled 81
I don't know.. .Incredibl Actual failure:
-Partially fulfilled 82 I don't know... Come 0 ...;.Failure resolved 87 Ole!
b) Unfulfilled
-Partially corrected 88 Well ...
-Solved with a gag 83 89
-Replaced (improved) Better!
-Solved with another magical surprise 84
-Forgiven (gag, out, drama) 90 Never mind.
-Forgotten (memory erased) 85
--Caused to be forgotten 91
The Magical Effect Is Preceded by -Made to be perceived as an
apparent failure 92 I don't think he really missed.
5. FAILURE ( OF THE EFFECT)
Warning: great danger! If the emotion caused by the failure ( even if
Includes: Tension. Fear. Slight awkwardness. Maybe anxiety. Doubt (Will it be
a simulated failure) lasts more than is dramatically necessary and goes
true?). Maternal instinct. Perhaps perverse joy. Patronization. Compassion.
long-term memory, the experience is strong and it may be difficult or
Disillusion. Feeling duped. Expectation. And then: Contempt and Relaxation.
ossible to erase the sensation that something went wrong, that there
But if the spectator didn't want the effect to succeed: Slight frustration (Hey,
there are people for everything!). . Vernon's "Matching the Cards", "The Partagas Sell".
. "The Three of Hearts? No? Seven of Diamonds? [Search and Top Change.] I
80. "He'll make a lady from the audience fly" (Copperfield). blow on it and it changes into-the Seven of Diamonds."
81. "I will cut my assistant in half," said in a tone that raises doubt. .. "Three of Hearts? No? Seven of Diamonds? But the two cards on top are a
82. "I will know just by looking at your eyes," followed by verbal fishing through Seven and a Diamond."
questions and answers.
. "Three ofHearts? It isn't? Then I don't need any cards. The deck disappears."
83. "I will eat a live spectator." The magician tries, but the spectator complains . You fail to divine the first of three cards. Without overly stressing this failure,
because the magician bites him. The spectator runs away. "If no one is willing you divine the next two cards with increasing emphasis on drama and magical
to be eaten, I can't do it."
effect. You then continue with the next trick. You could also, on the first div-
84. The magician takes a card from the deck, saying, "This card will be the card ination, throw the failed card into the air and tell the spectator who chose it:
you name. " Someone freely names a card and the prediction is shown-a "You missed! That's okay. I forgive you!" (Laughs) Just smile and continue.
Joker. ''Jokers are wild" (gag and unfulfilled promise). With a Top Change, 'By the way, let's remember that in the circus it is quite common to miss a stunt
the Joker is then switched for the named card, which the magician has found on purpose in order to, when it is repeated successfully, achieve a greater dra-
using a stack or any other method. The card has transformed ( a magical sur- matic reaction, seasoned by sympathy felt toward the artist and that causes
prise different from the promised effect). See "Prediction; E. A Stage Version: the failure to be forgotten or forgiven.
'The Joker"' in Mnemonica, p. 94, for a handling of this. l. "The Three of Hearts? No? Well, wait, look at this trick-and this one ... "
85. "I will do the whole trick without touching the cards." No further reference is . You greatly exaggerate, overacting: "Oh, it's a pity I missed!" (Pause. Search
made to that promise. A while later, the magician deals the cards himself, but and Top Change.) "But seriously, look: I blow and-poof!" You make it look as
the effect of the promise remains in the memory. (See proposals by politicians if there has been no mistake; you've done everything on purpose, been in con-
in their campaigns.)
trol and feigned having missed. You don't allow the emotion of failure to be felt.
N

was a mistake, even if it is later proved that this wasn't the case or that
it was corrected. I think it is prudent to attempt to make the "failure" a
weak and brief emotion, then immediately to make it feel false (simulated
and desired by the magician) or cause it be forgotten or forgiven. See the
study on the techniques for outs in magic in Chapter 10 (p. 495).
aoout the attitude of the helpers, a"?out an error, about noticeable nerves
of the magician. 98 Oh ... oh ... oh ...
Warning: If done excessively, this will obstruct qu~et contemplation
and a pleasant experien·ce of the marvelous effect and ~ts fascination.

6. ACCIDENT
8. FEAR OF AN ACCIDENT OR DANGER
Includes: Shock. Fear. Anxiety. Solidarity. Compassion. Doubt. Maternal
Throughout the, session, and especially at delicate moments: due to diffi-
instinct. Expectation. And then: Joy, or frustration if it isn't fixed.
cult conditions, and due to the objects being used; and for the helpers or
It can be Emotions ( expressed or felt) for the way the spectator is and feels. 99 Uh ... uh ... uh ...
a) Apparent:
-Proved apparent93 And now? ... Youjoker.
The Emotions That Follow the Effect, Caused by It
-Overcome 94 Oops! And now? ... That's great!
b) Real: First reactions: at the moment immediately after the effect is produced,
-Overcome. Fixed 95
Oops! And now? ... That's great! deliberately by the magician, or spontaneously felt by the spectators.
-Apparently fixed 96 Anyway.... Phew!
-Shared (without fixing) 97 Well, never mind. 9. AsTONISHMENT, AWE
At the mental shock of the impossible.10° . .. !!!
The Procedure of the Trick Is Accompanied by Includes: Great surprise. So stunned, people forget to react. Breathless.
Silence and amazement. Exclamations. Incredulity. Admiration. Rubbing
7. FEAR OF FAILURE
their eyes. Mouths open. Looking at the others. Shaking their heads in
Throughout the session, at difficult moments that arouse concern: for the
denial. Eyes open wide.
magician, about the great difficulty of the effect, about the circumstances,
93. All the cards fall to the floor-but an envelope arrives "in the mail" with thP Produced by effects of this type Emotions ( expressed or felt)
exact solution. The three selected cards are inside. a) Normal (specific) ?!
94. A handkerchief is tom by a spectator and restored.
95. A spectator drops the deck on the floor. The magician brings out another deck
bf Mental wallop (knocked senseless) 101 Dong!
c) Visual blow102 I see stars ....
(stacked or Brainwave) and ends the trick successfully. A billiard ball falls to
the floor and rolls far away. The magician produces another and continues
with the manipulation. 98. Sympathetic spectators, including fell ow magicians who see us struggle, or
96. The Rising Cards houlette breaks. The trick is continued with the deck in hands. relatives or our mate.
97. For example, with a gag: ''J always drop the cards, it's part of the show." 99. The magician's mother is watching the Head Chopper. The spectator's girl-
Continue with another trick The attitude of the magician is essential in the han- friend is to be "chopped".
dling of this emotion caused by an accident. Another way of dealing with it is 100. Disappearance of the airplane (Copperfield). The Spirit Slates.
by being sincere with the audience: "Well, I'm human, too, but you are going to 101. "Out of This World" (Paul Curry).
see this other wonderful trick." This is valid for "Accident" but not for "Failure". 102. "Metamorphosis", Pendragons style.
 204
205

Produced by effects of this type Emotions ( expressed or fel CITEMENT (EXALTATION)

d) Sparkling (several short effects in succession) 103 Oh! Oh! o · eludes Caused by Secondary reactions, during
e) In a cascade (in crescendo) 104 Oh! Oh! Oo the assimilation of the effect
000
f) Rhythmical (at regular intervals) 105 Oh! Oh! o etoscream. Experiencing No! No way! ... Ah!
g) Held throughout its duration 106 00000000 0
aroations. the unique, the Hee-hee! No, no!
h) In a frenzy (rhythm and excitement) 107 Oooh! Oooh! Oooh es. Little laughs. extraordinary,
i) Accumulative (in a sequence, but at irregular intervals) ding up. An the exceptional,
-Routined108 ost Dionysian plea- the impossible,
-Repeated identically109 . greason
inputtin the outrageous. 112
-Repeated under increasingly impossible conditions mentarilY aside.
and/or with somewhat different results 110 ,SENSATION OF .MYSTERY
udes: The spell of its atmosphere. Sensing and feeling its fluttering.
10. INTELLECTUAL CHALLENGE e unavoidable attraction of mystery.
Upon feeling excited logicm Let's see: how did it happen? Caused by: Adventure in search of the unknown (within the safety of
He must have ... ·stic fiction), the ignored, the elusive, the incomprehensible, the irratio-
Noway! the secret, the occult, the magical.
'
How did he do it? It will obviously depend on the style of the presentation, on what the
gician feels (Luis Garcia in one style, Finn Jon in another, Max Maven
yet another) .

. WONDER, FASCINATION (ENCHANTMENT, ILLUSION, MAGIC)

Warning: If this emotion is excessive and not resolved, it might cause
eludes: Pleasure. Joy. Delight. Feeling the fantastic and the poetic. The
frustration. This depends on the magician's attitude.
nsation of finding oneself in glory. Heaven. Paradise. The Magic Rainbow.
103. Card manipulation (act or routine).
Accompanied by Emotions ( expressed or felt)
104. The Kaps Chinese Coin Routine (Fred Kaps): the production of progressively
Poetic beauty113 Ah! What beauty! Such poetry!
larger coins.
105. Six-Card Repeat (Tommy Tucker).
Sensation of a joyful trance Wonderful!
106. The Okito Floating Ball. Or a rhythmic, fast-paced production of silks from
Surrealism (in objects) 114 ?!
a Phantom Tube. Or a vanish of a single object, without its immediate reap- 12. The endings of knife routines (Kaps with handkerchief, Ascanio with minia-
pearance); the effect of the vanish remains.
1
ture knives).
107. Ending of "Total Coincidence" (Little Tamariz).
13. Vernon's "Brainwave".
108. Rope routine, Cups and Balls.
14. The talking head of "The Sphinx" (Tobin), objects pulled from a movie screen
109. Dove production. Kangaroo Coins.
(Goldin) and a very long etc. A great many magical effects produce surreal
110. The Linking Rings.
objects; for instance, Currency or Card in Bottle, decks that cut themselves,
111. "Zig-Zag Girl" (Robert Harbin).
cards that move by themselves.
N

HALLUCINATION
·s also takes place at a subconscious level.
Includes: Sensations similar to those produced by hallucinatory substanc
States of sleep deprivation or hunger. Mirages. Hypnosis. Mystical tran m-eful: There is. a danger of bec~ming corny.
Illumination.
EASURE, ENJOYMENT AND INNER Joy

Reaching the degree of Emotions ( expressed or fel ugh fulfilled impossible wishes and dreams lived in rtistic reality.
a) Mirages, optical or tactile illusions. 115 It makes me see or feel Includes: Satisfaction. Deep joy. Wholeness.
1
b) Suggestion. 116
I see visio They can be r
c) Hypnosis.
He hypnotized m Conscious wishes (money, food, health, love, luck , h appmess .120
i • )

d) Delusion (a loss of the sense of reality,

Subconsciou~ wishes (through symbols): ·
with unreal images taken as real).
-Dreams and fantasies (not acknowledged).
-By continuing or repeating the magic
effect, making it beautiful, very -Wishes of the collective subconscious (myths): flying, invulnerability,
powerful and absolutely impossible. 117 resurrection, knowing the future, impossible liberation, metamorphosis,
-Through the rhythm, in the almost ubiquity, control of time (going back in time), telepathic communica-
obsessive repetition of the effect. 118 tion, cosmic unity, the origin of chaos, creation, animation of objects,
I see it and I don't believe it...
miraculous healing, X-ray vision, penetration through solids, powers
15. CHILDHOOD RECOVERED. PLAYFULNESS
over nature (rapid germination, control of natural forces), etc. From
Includes: Sensations of paradise regained. The Wise Men and Santa Claus.
Icarus to Orpheus, from Minerva to Zeus, from Thor to Siegfried, from
Fairies. Warlocks. Gnomes. Genii. Spells. From Aladdin to Merlin. From
Eros to Chronos, from Dionysus to the Indian Gods of Liberation. 121
Melchior to the Wizard of Oz. Back to the pre-logical age. 119
Immediately after the assimilation of the effect.
Through Emotions ( expressed or felt)
a) Something plausible although 7. CALM, RELAXATION, ACCEPTANCE, SURRENDER
non-existent and unnecessary. ncludes: Release of tension. Enjoyment. Peace (devotion and surrender
Oh! I feel like a kid.
b) Play. Fun.
It's so much fun to play! 0 the magic sensation). State of grace. Joyful acceptance. This is magic!
c) Fantasy.
It's fantastic!
d) Free and competent imagination. 120: A ten-dollar bill to a hundred-dollar bill. Miser's Dream. Production of a leg of
I am free to dream!
Iberico ham. Winning the lottery. "The Good Fortune Routine" (Mnemonica).
115. The Color-Changing Knives, the Hot or Cold Ball.
Gambling demonstrations.
116. The General Card: One card appears to be four chosen cards.
12[ Cut and Restored Rope (resurrection). The Egg Bag (creation of life). The
117. Slydini's One-Coin Routine. The Rainbow Knives, with three knives vertig- Linking Rings (release from bondage). Rabbit from Hat (formerly: food, fertil-
inously changing colors (I mean my own-and you guys just pretend you ity). Dove Production (creation, purity, innocence). Everywhere and Nowhere
don't know it).
(ubiquity, disappearance). Going back in time and predictions (control of
118. Four blue-backed cards that change and change (Oliver MacKenzie's
time). Coin assembles and Chink-a-Chink (gathering of the four elements).
Drink Trick").
Triumph (order over chaos). Ambitious Card (rise, liberation, power). Rising
119. The Koomwinder Kar (Dick Koomwinder). Productions of fruit, candy, col-
Cards (animation, ascension). Inexhaustibility (the Hom of Plenty), etc. See
ored silks, serpentines, rabbits, ducks ....
Chapter 3 and the appendices on classic effects, symbols and myths.
 208
Other diverse emotions ( according to the type of effect)
18. CONFUSION AND MOMENTARY DOUBTS
For a short time, upon feeling or believing for a moment that what ~
seen is a real phenomenon (telepathy) or a great coincidence, or that it
beyond artistic fiction. 122 Is that true?
19. RESTLESSNESS, DISCOMFORT
(Sometimes horror is raised by the subject of death or similar topics.)
Includes: Sadness. Fear. Danger. Superstition. Anxiety. Horror vacm.
Anguish. And then, occasionally: Joy. Relaxation. Glory.
The effect presented as
Emotions ( expressed and felt)
a) Apparent death 123
Uh!
b) Real death ( animals) 124
That's horrible!
c) Symbolic death (not always a conscious concem) 125
d) Gore magic (blood, amputations) 126
Warning: Danger of an unintended sadism perpetrated on the spectators.
20. LAUGHTER (SOMETIMES SMILES)
This refers to the laughs or smiles produced by the magical effect itself.
Includes: Joy. Relaxation. Communication. Closeness of the group.
Revitalizing energy. (See "Magic and Comedy", p. 407.)
Caused by
Emotions ( expressed or felt)
a) The absurdity of the effect. 127
Come on!
122. The Center Tear (telepathy). Bending spoons by mind power.
123. Sawing a Woman in Half with a circular saw (Goldin).
124. A bird is genuinely decapitated when its shadow is cut (various eighteenth-
century magicians).
125. The disappearc\',nce of the deck, without its reappearance. The Gut and
Restored Rope using scissors.
126. The Knife through Arm, with blood. Richiardi, Jr. 's Sawing a Woman in Half,
with the close-up display of blood and cut organs to the spectators.
127. The eggbeater in Clayton Rawson's "Little Wonder Thought Projector". The
Long Card (ten pips in a long row).
209
Tension (impossible) without ·
. ) .128
relaxation (exclamat10n _ Uh! Hee-hee.
A comic situation in the procedure of the trick
-A magical effect is apparently ignored by the magician.
I') Although the spectators
. are aware t h at 1't 1s
· a pret ense. 129 Irony.
ii) The spectators believe that the magician
is truly unaware. 130 He has no idea.
-The effect is apparently not intended by the magician.
i) The spectators are aware t h at 1"t 1s
· a pret ense. 131 How ironic!
ii) The spectators believe that it is truly intended. 132
Warning: Misplaced and disproportionate comedy might hamper, destroy
r almost destroy the magic. (Again see "Magic and Comedy".)
1. FEAR, HORROR
Fear of the paranormal, esoteric magic, black magic, sorcery, voodoo,
witchcraft ....
Includes: Apprehension. Courage. Cowardice. Credulity. Doubt. Mystery.
Return to the infancy of the species (arcane fears). Sometimes: Dread. Terror.
Horror. But also: Peace of mind from the safety of living in an artistic fiction,
and being able to escape the fiction at will.
'fype Emotions
133
a) Spiritism (the dead, spirits, the world beyond). Uh!
128. A coin vanishes from the hand.
129. Lewis Ganson's Color-Changing Knives routine (Ganson's Routined Manip-
ulation, Part II, p. 19), in which the magician doesn't seem to be aware that
the knives change color.
13;. The Rising Cards: A card rises while the deck is behind the magician's back.
131. Seemingly unexpected appearances of card fans by a tipsy Cardini. Zombie
Ball that escapes (as performed by Juan Anton).
132. In an apparent accident, an envelope containing the spectator's money is burned.
The inexhaustible salt pours out of Fred Kaps's fist (music stops and restarts). A
spectator accidentally, or through a misunderstanding, tears a handkerchief.
133. Seances, perhaps making people aware of the artistic :fictional nature of what
is presented.
 b) IJ-'-••u.,... ,c::i ... u and animal magnetism. 134 Mmm ... Super-psychological abilities 139 ·
c) The maleficent, the diabolical, witchcraft, black magic. 135 How scary! Super-calculation140
d) Bizarre magic (the occult). 136 Yuk!
Super-strength141
.Warning: There is a danger of overdoing it. A danger that the power Super-digestion142
of the emotion overrides the magic. A danger of falling into the theatrical Super-communication143
rather than into the magically artistic. Super-resistance to pain144
22 ..AMUSEMENT, FuN, ENTERTAINMENT Super-mastery of hazard 145
Learned animals 146
Different emotions, apparently light but of great human value and there-
fore enormously positive. They bring happiness, a restfrom the everyday Warning: There is a danger that the magician believes or feels that the
struggle, a break from personal problems. They bring joy and therefore effects, not being totally impossible and being more or less explainable,
encouragement for better facing everyday life (which is sometimes hard) don't have a magical impact. This needn't be the case if you play within
with more strength and energy. They happen by themselves or when the the zone between the possible and impossible. Most of the time there is
artist-magician seeks them, whether this is his only goal-not believing in, doubt about the genuineness of the phenomena, although it is colored with
feeling or wishing for other possibilities-or just one of his goals. Magic admiration. In any case, these effects are a formidable resource for enhanc-
as a show. We are here to have fun! That is also wonderful! ing the personality of the magician, and they offer a powerful complement
to magic, producing credibility, amazement and a certain dose of mystery.
23. AMAzEMENT AT SUPERPOWERS
Almost magical effects: Heroic magic (lying between the divine and the 24. SENSATION OF SEMI-MAGIC
human). Produced by allied arts.
Includes: Admiration. Incredulity. A wish for imitation and sharing those Includes: Amazement. A mild sensation of magic. Sometimes doubt.
powers. Glorification of the hero-magician. A sensation of the "almost Sometimes charm.
almost" impossible. ' Among them Emotions ( expressed or felt)
There are several types of these powers. They span magic and the Automata that are gimmicked to
sideshow and extraordinary phenomena. Let's look at some of them. make them seem intelligent. Seems alive? Is it?
Type 139. Prediction of one among five ("He made us choose it"). Musel~ reading.
Emotions
a) Super-memoryl37 Amazing! Almost incredible! (for all cases) 140. The Magic Square.
b) Super-physical skill 138 141. Tearing a phonebook or deck of cards in half.
142.Eating stones (stone-eaters of the eighteenth century). Regurgitation of flu-
134. Hypno~ic rigidity over two chairs. Animal magnetism (presented in the style
ids, frogs and fish ....
of Lulu Hurst). 1
143. Second sight, when presented as a dialog between two mindreaders (an
135. Voodoo done with people.
effect at the limits of the magical).
136. A simulated ritual of black magic.
144. Fakirism, being pierced by needles, impervious to fire.
137. The Thirty-Word Memory Test. Knowing the day of the week in any year.
145. Predictions that are not strong once, but when repeated (heads, tails, tails,
Memorizing a deck. Sometimes Book Tests.
heads ... ).
138. Gambling demonstrations. Escapology. Dice stacking. Flourishes with cards.
146. Munito the Learned Dog, psychic birds, calculating horses, learned pigs.
 b) Ventriloquism (especially if there are
Envy (loneliness) upon proving the brilliance
inexplicable moments)_ 147
Does it taI and social success of the magician (usually
c) Pickpocketing.
Don't they notic among groups of friends and colleagues). What about me?
d) False balancing. 14s
Seems incredibl overload, fatigue upon experiencing the
e) Physical Science. Experiments that work
excessive mental tension that magic demands. That's enough, okay.
in a way spectators don't understand and
Boredom after watching long, confusing,
that seem to defy known physical laws.
How can that be. messy, badly presented tricks or Enough! When will this end?
excessively long sessions. What a drag.

25. NEGATIVE EMOTIONS FROM THE SPECTATOR General Surrounding Emotions

(and that will linger if not neutralized by the magician and his attitude) and after the Magic Session)
a) Frustration and impotence upon
Some wishes.
feeling his logic destroyed.
I can't understand.
b) Insecurity upon feeling his logic worthless. . ILLUSION OF POWER
I wonder if logic counts.
c) Personal failure due to feeling inferior eludes: The sensation of the possibility of achieving in the future, in real-
to the magician. ' the same effects just presented in the artistic session. Hope. Power.
How clever you are!
d) Discouragement, upset at finding oleness. Feeling like gods (Wanna play God?). All of that is due to feel-
himself ignorant of the secret. g the impossible as possible, even if only in the scope of artistic reality.
How on earth does that work?
e) Apprehension, instability upon metimes this illusion/sensation of power is subconscious.
finding that his senses are not The power is felt as Emotions ( expressed or felt)
reliable and competent. I see it and-it's not true! Only the magician's. So powerful!
f) Low self-esteem, tribulation upon Shared with the magician, as part
considering himself not very intelligent, of humanity (and the spect-actors). Me too!
or feeling clumsy or stupid. Everyone's in the future. Why not sometime?
Am I stupid?
g) Offense, feeling ridiculous and cheated
' Warning: Beware of self-deception.
fooled, even swindled. He's pulling my
h) Anger, upset at imagining himself as not worthy WISH OF BEING THE ARTIST, OF BEING THE MAGICIAN

of the confidence of the magician Includes: Emulation. Wish to imitate. Amaze. Have power. Have the skills
(friends, rel~tives ... ). mid the beautiful artistic talent of the magician. Be admired. Enchant.
He doesn't explain it to me.
i) Bad feelings, knowing that the magician Play. Be the center of attention? If I could .. .I would like ...
knows the secret but doesn't reveal it. Why doesn't he explain it? By the way, I, and all of you who are reading this, have felt this at some
147. A live dog that opens and closes its mouth when talking (Marc Metral). point. This was what brought you to the hobby or profession of magic. For
148. A ball (attached to an unseen thread) spinning on an umbrella. some of us, it changed our lives. Now we are magicians and nothing less!
N

28. REMEMBRANCES AND EVOCATION OF THE EFFECT AND ITS EXPERIENc . LUCIDITY. ENRICHMENT. WHOLENESS
(BUILDING THE EFFECT)
eludes: Return to reality. Knowledge that everything is explainable by rea-
Includes: augmentation and glorification of the thing experienced and 3_ n, even if we don't know how to do it for lack of information; but there
curious improvement of the conditions of the effect-as long as spec.;
n
someone, the magician, who does know. Peace of mind. Security. Belief
tators have liked and sympathized with the magician, as a person or an ain in reason and logic, tempered with humility and a healthy skepticism
artist. Sometimes this is accompanied by thoughts about the impossibility manipulated logic and ·our capacity for analysis (we can be deceived, we
of the existence of any natural cause for the effect. This boosts and mul- e human after all), at the limited reliability of our senses (I saw it, I heard
tiplies its charm.
it, I felt it ... but it wasn't true) and of our attention and memory. Triumphant
Upon feeling ( expressed or felt) reason along with the immense pleasure, perhaps forgotten, of feeling the
Excitement about what was poetic perfume of mystery and dreams, of imagination coexisting with
experienced. It was incredible and wonderful! lucidity. A sensation of feeling enriched by the experience of the magical,
and the safety derived from the power of reason. Wholeness, a sense of hav-
Warning: This emotion is usually linked to the next.
ing gone through pre-logical childhood (fantasy), childhood (playfulness),
29. WISH To SHARE THE EXPERIENCE OF THE IMPOSSIBLE WITH OTHERS adolescence (adventure), youth (emotional, poetic) and maturity (logic,
AND NARRATE IT defeated at first, eventually triumphant).
Includes: the elements of the previous emotion (remembrance), but with Upon feeling Emotions ( expressed or felt)
more power regarding the augmentation and improvement of the effect The humbleness of knowing we can
experienced, because of the need to transmit and spread the sensation of be deceived, illusioned. I was totally enchanted!
the impossible and miraculous. People wish to convert it into something The lucidity of recognizing our mistakes in
legendary. Vanity, a feeling of having been a selected one. Subconscious perception and the limitations of memory. I thought I was watching
co-authorship felt by the spectator, especially if the spectator-narrator and I didn't see anything.
was an active participant in the trick, routine or session. Sometimes, if The healthy skepticism at the limited
the spectator is in a group, this is preceded by comments on the natural ability of our senses. I saw it, I heard it,
causes (secret) of the effects witnessed. But the conclusion, in general, but it wasn't true.
will be one of wonder and pleasure. d) The safety and peace of mind in
Upon feeling Emotions ( expressed or knowing that reason triumphs. I know there must be a reason,
a) The insufficiency of lonesome pleasure. I have to tell you! Believe and thanks to it I was able
to enjoy the marvelous.
me, it was impossible
e) Personal glory and enrichment
and marvelous!
b) Having contributed to the miracle. and wholeness due to the artistic, What beauty! How artistic!
And I chose it myself!
magical experience (although How fascinating! How
In my own hands!
artistic, not real). impossible! It's magic,
The circle closes.
but artistic (not real).
 The Emotions Situations That Provoke Them) nanger: If the I-Saw-the-Secret Phase lasts too long, it will pass into
in Relation to theSecret Method term. memory ~nd will stay with the spectator. If the experience is
. no one will be able to e'rase it. People might even remember
orable ,
Warning! I feel the emotions included in this heading should be minimize they "spotted the secret" even when the magician h~s clearly shown
by the magician and be used only to stop restless logic during the first p that it wasn't the true secret. It's similar to the ertjotional situation
of a session or a routine and any logic still awake later. mistake. Curiously,· in manipulation routines, with effects that fol-
closely, one upon another, this negative effect is r~duced or entirely
31. I CAUGHT IT! I SAW WHAT HE DID!
• ated, since the emotion produced by the trick that follows the
Includes: Satisfied curiosity. Pity. Possible feeling of guilt. Disillusion.
-the-Secret Episode erases or, rather, prevents the passing of that
Compassion. Self-complacency. Maternal instinct. Doubt. Self-assertiveness.
t into long-term memory. As a result, the negative emotion is com-
Pride for one's own intelligence and cleverness. And, of course, if the move
tely forgotten. (See more on this subject and its applications to magic
supposedly discovered turns out not to be the real one: Joy. Sometimes
Chapter 4, "Magic and Memory", p. 113.)
frustration. A playful feeling. Admiration. Humbleness.
When people believe they saw the secret, there are some variations: . PSEUDO-EXPLANATION
a) When there is certainty of having seen the secret. 149 I know it! ·cks in which you pretend to explain the secret, or really do explain it,
b) When there is merely a doubt. 150 Uh! I think that. .. d then prove it was a false explanation; or the explanation is overridden
c) When there is fear that the magician might a more powerful and unexpected effect.
be exposing the secret. 151 Uh! Maybe they saw. Includes: Curiosity. Doubt. Distrust. Interest. Fear of Disillusionment.
d) When it is proved that the secret d then, once the false explanation is demonstrated: Surprise. Joy.
was revealed. 152 He was right! What a pity! ontempt. Playful feelings. Admiration. Refreshed amazement.

Then, when their suspicion is proved to be erroneous, not the true Contains temporary phases Emotions ( expressed or felt)
155
solution: When the explanation is announced. Good. Let's see. I don't think ...
156
153 When the secret is explained. Ah! Of course!
a) If it's known to be caused by the magician. He was kidding!
When it is shown that the Ah.! I thought so!
b) If it was the spectator's mistake. 154 I was wrong!
explanation was false. 157 ( Or sometimes:) To hell with logic.

149. The palmed ball is partially exposed and noticed. Let's just enjoy it!
150. The magician pretends to hide four Aces, or an egg, under his arm. When the explanation is really shown but
151. Wheh other magicians or friends of the performer see that some spectators is later overridden by a better effect. 158 Oh! Come on!
are whispering and commenting on possible solutions to others who want to
feel the magic. 155. "The Backstage Illusion".
152. He brings from his pocket the card that was seen palmed in the same hand. 156. Silk to Egg.
153. The arm pit is shown empty and the Aces are found on the table or the egg 157. The Chinese Sticks.
in the bag. <158. The "What's Next!" jumbo card with a changing number of spots; changes
154. He thought he saw the coin in the sleeve, but it is still in the hand. from a one to three, then to six, then to eight!
N

And according to quality and the cleverness of the solution: y reasoning or guesswork, sometimes the spectator finds a false
a) Ingenious, admirable. 159 . that, unfortunately' seems like a real solution to him. This can
How elev ion
b) Coarse trickery. 160
Oh! That's what it w 'bly result in partial disappointment. Making the false solutions dis- n
c) Obviously false. 161
Come on! What ajok ar or, rather, preventing them from appearing, is the true objective of
d) Apparently false (but true ). 162 Yes? I don't know.. .I don't thinks method of The Magic Way.
1

33. CURIOSITY IN DISCOVERING THE METHOD 1 repeat: The danger that lurks in the emotions relat ed to the secret
1

od is that too much emphasis may be placed on ~hat non-magical

Includes: Interest. Curiosity. Challenge. Tension: Search for rest and rel
of the trick that constitutes the secret. This could hamper the magi-
ation after resolving the logical conflict. Wish for self-acknowledgme
emotion. It also depends, however, on the part of the session we find
Search for safety. Fear of not trusting reason or the senses.
selves in. If it;s at the beginning of the session, when the Logical Bull
Upon
Emotion n't yet been soothed to sleep, there can be positive effects in bringing
discover the secret ( expressed or felt) the foreground what the spectator already feels is attacking him: that
a) Frustration.
I can't! re is trickery, that there is a secret reason, that it isn't that way, that it
b) Wish of setting logic aside. I don't need to know~: esn't exist. In my judgment, this helps the spectator to send his logical
c) Eagerness of entering the realm of the illusion.
e to sleep, so that later in the session, he can enjoy the magical effect
magical emotion completely.
34. KNOWLEDGE OF THE SECRET AFTER THE TRICK
Includes: Disappointment. Admiration for the cleverness, dexterity, psy-
The Emotions ( and Situations That Provoke Them)
chological skill or creativity. Amazement and surprise at not having seen
in Relation to Others: the Magician,
or thought of the secret, or for remembering the facts incorrectly. Safety.
Helpers, Assistants, Spectators
Rest. Relaxation. Emulation. And if the secret has been shared: pride of
belonging to the initiated. Secretiveness. 5. ADMIRATION FOR THE MAGICIAN. SYMPATHY

It can be ncludes: Admiration for his personal qualities, his power, his magic.
Emotions ( expressed or felt)
a) Leaming the secret accidentally, or ometimes accompanied by: Emulation. Healthy envy. Caring. There can
because it is suspected, or it is in a so be an emotion of sympathy with the magician if he s~ows himself
book, or it is told to them. Ah! That's what it o be sure, happy, joyful, as opposed to "doing a job", nervous, sluggish.
b) Leaming it voluntarily because the magician here is also sympathy for the positive emotions the magician feels for the
~

told them or they found it on the Internet. Now I know it, too! magical effect, if they are genuine and not stiff or obviously acted.

159. Ajumbo card with moving pips; used as an explanation of the optical illusion.
160. Marked cards. Stooges.
161. "Inside the little wooden car there is a little man who drives it."
162. ''I move it with a thread that is attached to the card." (Vernon's Rising
Cards).
36. CONTRARY ATTITUDE TOWARD THE MAGICIAN
Animosity toward the magician or his personality (unpleasant, conflict-
mg) because of his attitude (arrogant, challenging), insecurity, unhealthy
envy, frustration.
Includes: Reticence. Distancing. Threat. Intellectual and personal conflict.
;,
 37. TOWARD THE MAGICIAN'S HIRED ASSISTANTS, ONSTAGE AND ELSEWJ:IE
Although to a minor or a lesser extent, these assistants can produce emoti
similar to those described regarding the magician (favorable or negative).
38. TOWARD THE SPECTATORS WHO ASSIST IN A TRICK
They can also elicit emotions, sometimes very strong ones, in the rest
the audience.
Includes: Curiosity. Interest in the assisting persons and their attitud
Sympathy toward them and their situations. Criticism. Positive identi:fi
tion, if they are well-treated by the magician and they seem relaxed, safe
and happy. Pain and compassion if they are mistreated (harsh jokes, etc.),
Different possibilities
a) Desire to participate and collaborate in order to experience the magic,'
especially felt by children, but also by adults and gatherings of friends
or family. Largely depends on the culture, circumstances and countries.
b) Desire to be called on to participate in order to help the magician and
the success of the session, gathering or party.
c) Desire to attend and collaborate because of: Narcissism. Exhibitionism.
Wanting to be the star or center of attention. Showing off before a
group of friends. Desire to feel like the leader. Eagerness for notoriety.
d) Desire to participate for negative reasons: to heckle, win a presumed
battle of egos, spoil the trick or reveal it to the others, and to demon-
strate that "I can't be fooled."
e) Desire to participate in order to search for the secret to find out to
discover. ' '
f) Fear, horror and anxiety of the magician calling on us to help when
don't want to, in fear of making a mistake, of creating a bad impres-
sion or of being the victim of an unkind joke.
39. EMOTIONS FELT WHEN ACTIVELY COLLABORATING
When someone collaborates with a magician, either voluntarily or
through his election, especially if it is in an essential role or on stage, in
front of the audience.
is a of the highest importance, especially for those who
borate. The collaborator will enormously influence the audience's
eption of the trick, the rest of the session and, of course, the attitude
emotions toward the magician with whom he collaborates.
Includes: Joy. Shyness. Nervousness, sometimes great. Fear of spoil-
the trick Sometimes eagerness to get the magician into trouble. Fear
feeling ridiculous. Feeling observed. Joy in having been selected. Fun
getting picked. Delight in sharing the power, the gi,fts. Insecurity. Joy
helping and ,collaborating in the playfulness, the feast, the illusion.
piness derived in verifying the successful result of the trick Happiness
being more amazed than in other circumstances. Huge admiration and
lasting impression upon witnessing the magic under his control and its
ess (in his hand, in his mind, etc.).
.,..,...,."" nu deD4~ncts on the role assigned him by the magician:
Subject of the experience ("Think, name, choose ... ").
Suffering involuntary victim.
Voluntary and playful victim (Paper Balls over the Head).
Involuntary apparent heckler, through accident or error.
Magician for a moment or magician-magician (see Verbal Magic).
Witness, control, "notary".
Impromptu stooge.
Obviously, each role carries different and complex emotions. And the
more people who ·collaborate during the session, the mor_e emotionally
involved the rest of the audience will be.
Incredibly strong feelings and emotions are of maximum importance
When the magic happens to the assisting spectator (say, when his mind
is read), when it happens in his own hands (the coin changes from silver
copper) or on his person ( cards appear in his pocket, or ashes on his
hand). It's impossible to exaggerate the power of the magical emotion felt
the spectator when experiencing this.
It is the task of the magician to transmit this emotion to the rest
of the audience by selecting a good assisting spectator-someone
 22;3
222 ?
rrj
The Emotional Scheme
~
expressive and playful-and then to amplify his or her emotion (amaz
ment, surprise) by radiating or expressing it through sound and gestur G")
-..I

The magician focuses and concentrates his attention and everyone else (')
ore and during the effect:
on the emotional reactions of the assisting spectator. Remember, i
1. Suspense. ~
-..I
example, the great sympathy produced when a child participates in
2. Surprise.
zcd
show or session for adults: his reactions, his words, his gestures, his ve 0
How it is presented 3. Challenge.
expressive emotions. ~
4. Impossible promise.
40. EMOTIONS FELT BY EACH SPECTATOR TOWARD THE REST OF THE AUDIENCE 5. Failure.
Preceded by"
Includes: Belonging to a group. Resonance of emotions. Synergy with the. 6. Accident.
group. Softening of the possible negative conflicts and emotions, like feel- During the trick 7. Fear of failure.
ing stupid or fooled. 8. Fear of accidents.
Since the audiences of magic performances are often active, express-
ing opinions about the possible method through words and gestures, some er the effect:
spectators might feel negative and critical emotions toward such spec-
tators, in defense of the magician. Alternatively, they might share their First reactions 9. Astonishment.
fellow spectators' opinions and, therefore, the emotions that arise from 10. Intellectual challenge.

that information. Or if fellow members of the audience feel positively 11. Excitement.
about the effect, the other spectators could resonate with them, since the Second reactions 12. Mystery.
strongest and most powerful emotion an audience can feel is the joy of a 13. Wonder and fascination.

shared experience of the impossible and fascinating: the magical emotion. 14. Hallucination.
15. Recovery of childhood, playfulness.
One further comment
With this knowledge and analysis of these forty groups of emotions (which At a subconscious level 16. Pleasure and joy.
I suspect is incomplete), I believe we have an extremely useful tool (one 17. Peace of mind, acceptance ..
more) to help us achieve the real objective of our beautiful art: the joyful
and emotional experience of our most desired and most impossible dreams. Other emotions: 18. Confusion, doubt (Is it true?).
19. Discomfort (death).
20. Laughter.
21. Fear, horror (spiritism, hypnosis,
suggestion, etc.).
22. Amusement, entertainment.
23. Amazement at Superpowers:
-memory.
 -skill About the Variety of Emotions: An Example
-calculation
-strength variety of emotions can be achieved not only through different tricks in
-digestion session but also in the development of a single trick or routine. The won-
-communication constructions of Dai Vernon and Hofzinser can serve as examples.
-resistance to pain
-control of chance e Ambitious Card
-wise animals e average Ambitious Card routine usually consists of a sequence of ris-
24. Semi-magic. The allied arts. gs of the chosen card to the top. That is an improvement, regarding the
(automata, ventriloquism, ·ety of emotion, to the effect of the card rising only once. When the
pickpocketing, etc.) ect is repeated several times, the emotions the spectators come to feel

To avoid
25. Negative.
During and after 26. Power, conscious wishes.
the session
27. Imitation, emulation, inspiration,
wish to be the artist.
28. Remembrance, Comet Effect, evocation.
29. Wish to share.
The circle closes 30. Lucidity, enrichment, wholeness.
IN RELATION TO THE SECRET METHOD
31. I caught it. I saw what he did.
32. Pseudo-explanation.
33. Curiosity.
34. Knowledge of the secret.
IN RELATION TO OTHER PEOPLE
35. Admiration for the magician.
36. Against the magician.
37. Toward the magician's hired assistants.
38. Toward assisting spectators.
39. As an active participant.
40. Toward the rest of the audience.
uld be expressed like this (here I am considering only the emotions that
1within the scope of amazement and joy):
The first time the card rises: Oh! (surprise)
The second time the card rises: It's not possible!
( amazement and doubt)
When the third rise is announced: I'll watch carefully
(interest and attention)
Incredible!
When the third rise then occurs:
(further amazement)
When the fourth rise is announced: And it will rise again ...
(surrender to the effect)
. When the fourth rise happens: What beauty!
(fascination)
When the fifth rise is announced: What a pleasure to see it rise again!
( enjoying the effect)
When the fifth rise occurs: Miracle!
(magic)
The scheme varies, depending on the spectators, the routine, the
sequence of moves, the active participation of a spectator (he taps the
card and turns it over himself, which eliminates the easy solution of a
~uplicate), the manipulative clarity, etc.
 In other words, through the mere repetition of the effect of this wonde
ful trick-one of the best in all of card magic, without a doubt-spectato
can experience a whole scale of emotions, taking them from surpri~e
~mazement to mystery to surrender to fascination and, finally, to magic,
Magic, let's remember, is a group of emotions that contains all the preced-
ing ones mentioned plus the absolute sensation of the impossible, and the
experience of a beautiful dream wherein some of our more deeply rooted
wishes come true in a subconscious form following a symbolic pathway.
In this routine, the spectator's card, signed by him, representing him
becomes a hero. Once lost in the middle of the deck, the crowd, it stands out
' how", "put", "cut", "take two cards together", etc., without guiding adjec-
'
rising from anonymity and overcoming the pressure of those above, pene-
trating them. It escapes from the prison of the hand and the deck to arrive
on top (liberation), above all the others (power), in contact with the air, indi-
vidualized, visible, free. And it does this by rising (glorious ascension) time
and again, defying all physical laws, under impossible conditions, without
effort, in a state of grace, against all logic, apparently outside reality; but
within reality. Freedom, individualization, penetration of solid through solid,
power, ascension: a mighty combination that makes us experience our hero.
Needless to say, to truly feel those emotions, to live those magical
adventures, consciously or symbolically, it is necessary that the path, the
way, doesn't allow us to become distracted in our search for "the trick of
the illusion", whether it be the true method or any other possible solution.
And all this is achieved with the irreplaceable guidance of the magician. 163
The Bull of Logic should let himself be led by the Wmged Horse of Illusion,
Fantasy and Imagination, but not without having fought and battle9- for a logi-
cal hold. He must be felled by the magician's manual and corporeal technique,
the cleverness of the solution and its psychology (the control of spectators'
attention, perception and memories). Only then should the Wmged Horse
be the one the spectators ride, conquered by a mesmerizing presentation; of
patter with charm, of gestural grace, of rhythm, harmony, the pace of perfor-
mance, power, fascination and, lastly, of the persona and personality of the
163. See the opening chapter of The Magic Way, in which I expose my general
thoughts on the spectator's emotions in his journey through The Magic Way.
gidan-artist, richness of his inner world, his capacity to convey it
• g the performance, and the attr~ction he radiates to make us share with
the unique experience of the true and artistic magical emotion. 0
But let's go back to our analysis of the Ambitious Card. 164
Stars
he first thing to point out is that the description in that monument to
agic that is Stars ofMagic is just the bare bones of an explanation. It tells
without elaboration what we must do, describing the stark actions of
tives. Its laconic style allows about forty tricks, most employing complex
'sleights, to be compressed into the pages of a book Yet all of them, all, are
.
~bsolutely marvelous, many touch mg or reach.mg pure genms.
· 165
This succinct explanation of the tricks encourages various interpre-
,tations of the whys of certain actions and the ways of presenting the
'tricks. 166 Therefore, I have allowed myself to interpret Vernon's Ambitious
Card routine according to my criteria, while remaining faithful to the text.
The routine has nine phases, no more and no less. Not five, not
seven-nine! And not only does it escape being boring, but it doesn't feel
repetitive and it arouses emotions at all times.
164. By the way, the title seems inadequate to me. It has limitations, at least in
conveying ambition as a desire for power, for being on top, elitism. And it is
deceptive regarding its ability to arouse other emotions, such as liberation
and ascension. It could instead be "The Liberated Card" or •'The Card That
Rises" because, if we defined our hero as simply ambitious, without further
attributes, feeling sympathy toward him would become notably more diffi-
cult. The title is used only as a general classification for this effect among
magicians and should never reach our audiences.
165. It is in fact a collection of the best tricks of the best magicians of the best
period of close-up and card magic.
166. In one of my chats with Ascanio in The Magic of Ascanio: The Structural
Conception of Card Magic (see "Arturo and Juan Chat Again", p. 143), we
wondered about the virtues and drawbacks of long, detailed descriptions of
tricks versus concise ones like those in Stars of Magic. I refer you there.
228
First Phase
The performer asks for the name of a card that is easy to remember an
he removes that card from the deck. The spectator personalizes the car
with·his signature. The fact that the card is freely thought of and named
makes it less necessary to have it signed, but doing so helps to associate
it with the person who chose it; and he is now, in a certain way, repre..,
senting the rest of the audience. Having the card'signed also eliminates
any suspicions of duplicates. 167
The card is clearly lost among the others in the center of the deck and
' d mystery. The combination of using the Pass in the first phase and the
with a Pass or Double Undercut, it is secretly brought second from the
top. Since the effect hasn't been announced, attention will be less intense.
We seem to be in the phase of introducing the elements, which is a good
time to do the Pass, while relaxing after saying, "Hopelessly lost. Can you
remember it?" Since we are going to use a Pass or Double Undercut, the
chosen card is single (not a double) as you insert it clearly into the center
of the deck. This will not be the case later, since you will bring it second
from the top.
The Pass is better here, because the cards don't appear to move; a
clear example of how useful the Pass can be. Any substitute in this case
will not be nearly as direct and magical. In short, the initial situation is
presented with great clarity.
With a Double Turnover, the card is shown to have risen to the top.
This evokes magical surprise, an emotion usually experienced with inten-
sity, which makes it memorable and beautiful. It is a non-intellectual
emotion, more sensitive, more immediate, which sends a chill down your
spine. It probably creates a mild and pleasant shock that might induce
us to make a little exclamation of surprise, expressing and releasing the
sudden increase of tension.
The effect is two-fold: The card moves by itself and rises, penetrat-
ing all the cards above it. In other words, there is a penetration of solid
167. The question of whether or not to have the card signed lends itself to diverse
opinions. I prefer to have it signed. This greatly helps The Comet Effect of
this trick
229
ough solid and an autonomous and magical movement of an object. We
uld add animation to the symbolic elements discussed earlier.
Second Phase
e double card is turned face down on the deck, and ther;t the top card
buried in the center. There should be extreme clarity a~d neatness in
e insertion of the supposed selection into the center. A _magic gesture
d the card is on top-and it is a single card this time. ';rhe procedure
d effect are exceptionally distinct. Emotions are those, of amazement
ouble Turnover in the second cancels many possible solutions, true and
se, in the minds of the spectators. They won't consider them again.
Third Phase
e spectators think the effect is over, and that is the case: The card has
sen to the top twice, escaping from the center of the deck The spectators
e now beginning to ask themselves (to better savor the beautiful moment
erienced): "But how was that possible? He put the card into the cen-
r. Let me remember... " At this moment, when the spectators' attention
n the card relaxes and their minds are busy with processing the "logical
uestions", you perform a Top Change-the best technique for changing a
ard, done during a pause for relaxation. The spectators are unaware of the
tention of the magician to repeat the effect, and the magician has already
one what is needed for that repetition. He is way ahead of them.
The card is again clearly lost in the center of the deck The spectators,
erhaps with their logic still actively engaged, think, "He did bury it in the
enter...and he doesn't do anything to pull it out and put it on top. Let's
~
e ... " (Suspense)
The magician makes his magic gesture. This is essential: It is the ritual
lement that gives credibility to the illusion. It also raises the tension of
xpectation and the desire to see if the effect is achieved.
The card is shown to have arrived on top again! The surprise has given
ay to suspense and stronger amazement: "How is that possible? It can't
e!" The impossible, the specific component of our art.
 Fourth
Now for one of the typical constructional elements of Vernon (which hi
master Hofzinser often employed): pretending to do a Top Change without
changing the card, in a surreptitious but detectable way. The spectators
jump: "Ah! I caught it! I know! Of course!" The Logical Bull bellows With
joy. And the masterstroke that levels and temporarily tames him is then
delivered by the magician who, after inserting the card into the center
of the pack, notices the reactions in the audience. "Oh no!" he exclaims
innocently and na'ively. ''Another card is on top. Yours is here in the cen-'
ter. "And he shows it. 168
The spectators get the joke. They laugh to relax and they understand
the scolding of the magician-guide, accepting the fall of the Logical Little
Donkey (a bull when attacking, a kind little donkey when surrendering).
This phase has brought to life the emotions of I know! and Oh, he was
playing with me! Here the skill and personality of the magician are essen-
tial to avoid feelings of challenge and frustration. They in tum generate
those of joy and playfulness.
But the spectators now feel helpless. The magician immediately comes
to their rescue: "I'm going to explain it. "169
Some spectators believe the magician is really going to explain the
secret. They feel curiosity and interest. Others don't believe it and think it's
another joke: Magicians never explain. But yes, the magician does begin to
explain the method. ''I did this." He slowly brings his right hand over the
168. In this Machiavellian fashion, Vernon cancels the possible notion that he
is trying to switch the card for another before inserting it into the deck
However, that is exactly what he did earlier and what he will do ~gain, late1:
The spectators end up knowing the true secret but believing it is impossible
to do deceptively and that it was never used by the magician. Was Vernon,
perhaps, the ;devil incarnate? Some are tempted to believe it. I'll join them.
169. Please allow me, dearest reader, poetic license here. The phase of announc-
ing an explanation, which I will next describe, is not in Vernon's original
routine. I made it up or it was taught to me (I can't remember) when I began
performing the routine, but I do think it fits Vernon's style. Feel free to skip
it, if you think that's better.
ck and visibly palms the selected card protruding from along with all
those that are under it. He does this by using his left forefinger to push
ese cards inward to an injogged position and then clips them in the fork
the right thumb. He brings the palmed cards over the rest and adds them
top as he squares the deck The spectators see the p~ming action and
e replacement and believe they understand. The Logical Little Donkey
· aces and brays: "Ah, that's what it was. Now I see!" ,
The magician says, ''But if I repeat it at speed you can't see it." And
e does it again, faster, but this time he steals only the cards under the
election, leaving it under the deck, aligned with it. 170 The left forefinger
as pushed back only the cards below the ,selection, and the right fingers
ave pushed in and squared the selection.
''Did you see anything?" The spectators nod: We saw it. The magician
doesn't notice this. Innocently and na'ively, he says, "Oh, no! It's not on
op. This time it went down. " He shows the top card. It is not the selec-
ion. He then shows it on the bottom of the deck (another emotion: I made
rnistake. It's playing games with me again.). This time the effect is
accomplished in a magical way and while kidding around. Our hero-card
not only escapes from the deck but also from all logic! Once again we have
:the surprise, the pepper, the spice, the emotion of surprise, the seasoning
of the magic banquet. The salt was the previous joke and perhaps also the
kidding component of this new one: You thought you knew it, you trusted
logic, but it's not that way. This is a game of fantasy. The spectator under-
stands this and feels the surprise, the joke, the amazement: "Now what?
This is incredible. I should put my logic aside. Little Rationa~ Donkey, you
17~. This action does belong to Vernon's original routine. I've now returned to it.
171. It's remarkable that, in this phase, Vernon has actually used the palming of
the cards to bring the hero-card to the bottom, but in letting the palming
be seen and recognized by the spectators, they are surprised that the card
didn't go up as expected, but down, and they are amazed once again! In other
words, the technique that produces the effect is exposed, and yet the effect is
successful. The spectators don't understand anything anymore, unless they
are in the realm of surrealism and art.

To really clinch the sensation of the impossible, the magician appears
take the bottom card. He actually takes the second card from the botto
with a direct technique that is appropriate for the moment. It's a kind
0
Downs Change that substitutes the second card from the bottom for th
bottom card. He inserts this card into the center of the deck and, after the
ritualistic magical gesture, he shows that it w·ent down again! The spec..
tators are already living the adventures of this escapist and libertarian
hero, sympathizing with him. The emotion of the illusion, of its artistic
beauty, is already present. The Horse of Fantasy neighs and prepares for
the journey.
Sixth Phase
And in case there is anything left stirring in the Bull, the magician,
inspired by the diabolical Vernon, begins to do the Glide, letting the spec-
tators see him slide the bottom card back. Doubt attacks the spectators.
The Logical Donkey looks up from the floor and stretches his ears-but
the magician promptly shows once again (for the final time) that the card
placed in the center and still protruding is indeed the hero. He actually
took the bottom card!
Once again, his strategy is that of explaining a strategy done earlier-
taking the second card from the bottom as if it were the bottom card-and
"proves" it was false: a sure termination of this solution, which was a gen-
uine one. The Logical Donkey, exhausted, loses his senses, faints and slips
into sleep. We are ready to continue. The spectators surrender. The Magic
Way has brought us, by way of the magician-guide's hand and mind, to the
doorway of The Rainbow.
Then clarity increases: The magician turns over the card and clearly
inserts it again 'into the center, but this time face up. This positively
rivets the idea in everyone's eyes and mind: The card that goes into
the center is always the hero-card and not another. The psychological
strategy of the construction reaches its peak here in quality and struc-
tural beauty.
squares the card into the deck, gets a break two cards
· he has mastere d t h at s l e1g
ove the selection and executes a Pass, 1f . ht .172
The magician turns over the top card (after the ritual gesture) and- (')
orrors •' He made a mistake. It is not our expected hero-card. The spectators
el the mistake, which evokes new emotions: deception, maybe sadness,
erest of course, upon ·thinking, "How will he get out of this?" They iden-
with the magician.
Needless to say, there can also be a component of playful revenge. The
ectators may feel a certain satisfaction at seeing the magician's mistake.
ut the more they are involved in the trick, the more they surrender, the
ore enchanted they become and the more they admire and feel the artis-
.c beauty of their hero-card and their magician-guide whom the mistake
renders human, the more any satisfaction at his error will be mitigated and
ejected. Feelings of protection and maternal instinct toward the helpless
magician are even possible, likely and, I believe, desirable.
The magician plays with this situation for the necessary and appro-
riate amount of time, although briefly, to prevent the disappointment of
the mistake from being recorded in the spectators' long-term memories. It
must be erased and forgotten, so a couple of second s are enough .173
"Ah, I know!" says the magician-guide. "Since it is face up, it doesn't
come to the top. It rises secondfrom the top. The top card [he shows and
names the card, and sets it face down again on top of the deck] is there
to cover the rising. " After the magical gesture, he lifts two cards as one,
exposing the shining face of the hero-card. Surprise (more seasoning),
magical admiration (more flesh, more magical substance), joy and rest.
17~. Or a Double Undercut, if he hasn't. In either case, it is good to create a period
of tension-the magic rite, the tap followed by ''It's done!"-then a relax-
ation in gestures and attitude. It is at this moment that the Pass is performed.
Many were the times I saw Vernon slap his hands noisily and unexpectedly
over the deck and then, in the relaxation that followed, do the Pass.
173. In the extremely concise description given in Stars of Magic, it isn't quite
explicit that showing the top card is meant to display a mistake made, but I
think one can safely give it this interpretation.
234
And the Horse of Fantasy is already grazing as it trots along the valley of
The Rainbow.
Seventh Phase
The magician explains again: "So the top card covers the rising of our
card." With these words he uses the double card to tum the next one-the
face-up hero-card-face down. He leaves the double on top of it, then
removes the top card and takes the next one (supposedly the hero-card).
He puts it into the center of the deck and squares all the cards. After a rit-
ual gesture without drama (we are already in the land of magic), he takes .
the top card and uses it to tum over the next one: it is the hero-card once
again (accepted surprise; the magician and spectators take this rise as
natural). The Winged Horse starts to gallop, his mane blowing in the wind
as he carries us off. We all feel the magical emotion.
Eighth Phase
The magician again shows the face of the top card, the one that covers the
hero's rise, pointing out that it is always the same, a demonstration that
the portions of the deck are not moved, for The Comet Effect. There is no
Pass, no cut, nothing.
The magician, through gestures or words, asks, ''Again? Of course!"
to which the delighted spectators agree, wanting to enjoy themselves
(they're not trying to :find out anymore) and make this sensation last lon-
ger. And now, here, there come new surprises, new emotions. After losing
the cover card in the deck, the magician inserts.the "ambitious card" face
up into the center (forming a break above the card above it and ex_ecuting
a Pass or Double Undercut).
The magician takes the top card-actually two cards as one: the top
indifferent card, face down, and the next one, the face-up hero-card-
and with the double, he turns up the next card, which-is not the one
expected! But there is no more disappointment. The spectators tmst the
magician. He is confident in his magical power and in the fact that, in
this land of colors, everything is possible. He makes his ritual gesture
(perhaps he forgot it earlier), and the wrong card visually changes into
,
235
the hero-card (he sets the double card over the indifferent card, then
repi.oves the top card to expose the selection). The trick, the illusion and
the magic continue; the Horse of the Imagination and the dream go wild.
Magic is possible!
Ninth and Final ~hase
The previous phase has left two cards face up, which i~ to say that every-
thing is prepared for an unsuspected and direct :final Double Turnover.
Isn't it an absolutely wonderful stmcture!
Up to now the magician has been the only one who officiated in the
magic. The spectators watched and admired. Now, for the climax and
grand magical ending, the assisting spectator will achieve the effect him-
self. "You try it. "174 The magician loses the cover card (the top card). He
turns over the two face-up cards now on top as one. Then he takes the top
card into his hand. All are convinced it is the hero-card just seen. He holds
out his hand with the deck and asks the spectator to cut it himself. The
magician puts the card into the center175 and asks the spectator to replace
the cut-off portion, burying the card, and to square up everything himself.
He is then asked to hold the deck tightly between his palms.
The spectator is now instructed to make a magical gesture himself (or
in partnership with the magician)-and to turn over the top card himself
to see that he has achieved the magical effect. He has become a bit of
a magician and, as he is the representative of the audience, everyone is
riding the Winged Horse, which has taken flight. The spectators are all
feeling the delicate weightlessness and vertigo of the impossible, the fas-
cination of the wonderful-the art of magic.
l 7Ll. Once again, I'll allow myself some small poetic license in presenting this :final
phase as a transference of power to the spectator, or a collaboration in exer-
cising it.
175. Here I will take a chance, handing the card to the spectator and asking him
to insert it into the center.

1. List
A Pass, which proves that the card really goes into the center.
· A Double Turnover, which proves there has been no Pass or any other
moves after the card was placed in the center-even though a Pass
has been done.
A Top Change, which proves that the card ·is single before and after
inserting it.
A feigned Top Change, which proves that the Top Change is not the
solution, even though, in the preceding phase, it was.
A Palm, which proves a Palm is not the solution earlier, since the card
doesn't rise, it goes down; but the Palm is indeed the solution to
making the card go down!
A kind of Downs Change done on the face of the deck
A feigned Glide, which proves that the Glide is not the solution.
The card is inserted face up into the center and controlled by a Double
Undercut, which proves the card can even rise when face up.
A Double Lift of cards that are not the "ambitious" one.
Flipping the ambitious card face down with the double card.
Double Lift of a face-down card with a face-up card beneath it.
A color change made by unloading the bottom card of a double.
A final Double Turnover prepared by the previous phase, which has left
two cards as one face up on top of the deck
Yes, Vernon is the demon, the devil, Satan, Beelzebub, Mephistopheles!
2. List of Emotions and Sensations Felt the Spectators
First rise: Magical surprise. Clarity of the initial situation.
Second rise: Amazement. It isn't possible.
Third rise: Su~pense: maximum tension and attention. Seems impossible!
False Top Change: Triumph of logic. I know. I caught it.
It was still there: Joke. Deception, kind leg-pulling. Distrust of logic.
Laughs. Playfulness.
Fourth rise: Fake explanation. Excited curiosity. Doubt. Is he really
going to explain it? Oh, yes!
Sees the Knowledge. I saw it.
, But the card went down: Big surprise. Logic is worthless. It was not the
real explanation. More joking. More playing.
It goes down again: This begins to feel like magic. Incredible! Impossible!
But it happened.
Sees the Glide: Altho.ugh perhaps ... I think ...
Still in place: No, how silly of me. I'll set aside logic and get into the
magic. I surrender.
Face up and.".. it didn't rise: Disappointment. It will rise .... Oh! It failed.
Rises to second from the top: Joy. Oh! The magician is my guide, I'll
trust him.
Rises to second from the top again: It always rises and it will always
rise. That's what magic is. Great!
New rise but .. .it's the wrong card! Security. Confidence. What hap-
pened? It doesn't matter. Everything is possible here.
Visual change: Visual surprise. What beauty! It changed infront ofmy
eyes.
Invitation for the spectator to participate. Rises in his hands: Do I do it
all? (If asked to do it himself: Will I be able to?)
Rises in his hands: Miracle! This is magic!
(If he participated in the rite: I did it. We shared the power. I have
experienced-we have experienced-the magic.)
3. Excited Comments
-Can there be more variety, more quantity and more quality of emotions?
Can there be a better magical adventure with a single and simple effect?
Can there be a better dramatic construction?
Can there be a better magical construction?
Can there be a better use of card sleights: Pass, Double Turnover, Top
Change, Downs-type Change, Glide?
Can there be more magic?
There was a reason, Vernon, why we all called you, we all call you,
endearingly, with love, Professor.
 CONFLlCTS lN MAGlC AND THElR
CURVES OF lNTEREST

The Curves of Interest: Notions to Remember

We all know that in the classic scheme of any development of a dramatic
structure, whether it is for a novel, a play or a film, there is a clear divi-
$ion of stages that makes this development precisely that: dramatic. The
structure captures the attention of the spectator or the reader, keeps that
attention, gradually increases interest and takes it to a high point of conflict;
then the situation, the conflict, is resolved. That's how a dramatic structure
ends, with the decrease and final cessation of attention, in relaxation.
This is, of course, a generalization, completely valid for most scripts,
with exceptions that certain artistic movements have established during
certain periods. But the fundamental structure is still valid, and the trilogy
of dramatic elements-exposition, conflict, resolution-still exists.
In the exposition, the elements are presented to the spectators, intro-
duced by the story. The more interesting the elements, the bigger and
stronger the personalities (if they are people in, say, a movie script), the
more the story will interest the spectators.
N

Then comes dramatic conflict, a problematic situation in which the

characters are involved. Something is wrong, and we begin to become
interested in how the conflict and dramatic situation will be resolved. That
is the marrow, the essence of the dramatic interest of the story: Romeo
and Juliet are passionately in love but find their love impossible because
of hatred between their families. The more intense the initial situation is
and the stronger the conflict that prevents or ~inders the normal devel-
opment and successful outcome of the initial situation, the stronger the
tension and the drama will be: If R and J had loved each other only a little The classic curve of dramatic conflict
bit, there would be no drama.
But that situation of conflict is just that: a situation, something static.
If it continues at the same level, the interest it has generated will grad-
ually weaken and the situation will eventually grow boring. It needs to
evolve, either because the characters evolve-some malefactor appears
and plots against the lovers, and as a result one of them feels betrayed
(this is my script now, not Shakespeare's)-or because the circum-
stances get worse-J's brother is killed by a relative of R. In both cases,
the static situation is transformed into dynamic action and the interest
is sustained or builds. The stronger the conflict, the higher the interest
and dramatic strength.
Finally we reach the resolution of the conflict, which is usually rela-
tively quick and is accompanied by wit, laughter, logic, coherence or-as
with the case of Romeo and Juliet-by the hand of the messenger of the
Grim Reaper, that great and stanch resolver of conflict. It has long been
recognized that conflict is the most important component of the dramatic
pyramid, and this should always be kept in mind. It is the essence of
drama, the interest and the emotion.
The !graphic representation of dramatic development is a curve of
interest in emotions. This is determined by the highs and lows of dramatic
tension throughout the temporal development of the script or, in the case
of magic, the trick or routine.
We all know that the curve of interest shown in the following diagram
is a good one:
242
Magic: Two Conflicts
The Logical-Rational Conjlict-Climax without Resolution
Bµt is this true for magic? Elsewhere I have mentioned that in magic there
is no resolution to the conflict that is created. 176
CLIMAX
Time
The curve of logical-rational conflict in magic
I am clearly referring here to the logical-rational conflict, to the con-
flict of: "What I'm seeing is logically impossible and yet I'm experiencing
it as possible. How can it be? The lack of resolution makes magic spe-
cial among the performing arts. This feature, by the way, is not free of
problems. It's as if a movie were interrupted, its projection stopped at the
highest point of the conflict, which would be left unresolved. The sensa-
tion of dissatisfaction, of coitus interruptus, would be enormous.
The unresolved logical conflict could arouse curiosity, the desire to
know the secret cause of the apparently impossible effect. It could. In
fact, curiosity usually does appear to a greater or lesser degree. Is magic
then only or mainly a mere puzzle, a riddle, a pastime?
In a better light, is magic a show? A brilliant and entertaining per-
formance that produces amazement at the skill, dexterous speed or
cleverness of the trickery? Or in the worst case, is it simply deception, a
mockery of the senses? Does it leave us unsatisfied, restless, even frus-
trated, because we can't discover the solution?
176. See my little book Aprenda Ud. magia (1973, Editorial Cymys: Barcelona),
later expanded with more tricks in Secretos de magia potagia (1988. Editorial
Frakson: Madrid).
243
e Symbolic-Metaphoric Conflict of the Impossible Wish
better understand these questions and answer them, we will exam-
something I firmly believe in: that aside from logical-rational conflict, n
·ch is external, magic .has another form of conflict, an internal one.
cause it happens inside, sometimes it is hinted at and sometimes it isn't;
t it is perceived, although not always at a conscious level. It's a sym-
lic-metaphoric conflict that recognizes and evokes in us an impossible
'sh, which is resolved when the magical effect proves it possible. So
e of the facto;rs that prevents frustration when How is the impossible
ossible? is left unanswered is the pleasure produced by the existence
f a solution, in the realm of artistic magic, to the parallel conflict, the
amatic (emotional) conflict between the existence of a wish and the
ossibility of achieving it. Then comes, as I've said, the magical effect,
ich makes us experience the impossible made possible!
IMPOSSIBLE
WISH
Time
'fhe curve of the coriflict of the impossible wish (symbolic-metaphoric)
. Let me digress briefly to remind you that, for me, the art of magic is
the art of showing the impossible and the wished for-which is to say, of
the impossible and the fascinating-as possible. It deals with presenting
s6mething similar to a secular miracle; something wished but impossible
that is shown as possible and made possible in artistic reality, and that fas-
Jnates us, charms us, astounds us. It's something we long for, although it is
impossible to achieve, because it is prevented by the laws of nature and of
hysics: levitation, resurrection, learning the future, changing the past, etc.
It is precisely that conflict between the wished for and the impossi-
ility of experiencing it that is solved through magic. The magical effect
 makes the granting of the wish possible by breaking and overcoming t
laws of nature; and in a certain way, as we will see, it solves the logic
rational conflict, providing a greater sense to magic · It's a secular m·1rac1
Religion, Esoteric Magic and Artistic Magic
But what is a secular miracle? To attempt to understand it better.,~ 1
.
look at the similarities and differences betwee:r;i a miracle produced in th
realm of religion or of the supernatural and a magical effect, which is t
say a miraculous effect, produced within the realm of artistic magic.
A miracle presents a logical-rational conflict because a miracle is
impossible. It contradicts logic and the laws of nature. In turn, it carries
symbolic-metaphoric conflict: fulfilling an impossible wish (resurrecti
. ~
ascension to heaven, fulfilled prophecy... ). This second conflict is resolved by
the miracle making the impossible wish possible. And the logical-irrational
conflict-the How is it possible?-is solved by faith, by belief in a god or
gods with supernatural powers who, because of their control of the laws of
nature, allow the violation of those laws, thereby resolving the conflict. In
supernatural magic, belief lies in the existence of other laws, magical laws
(the laws of sympathy; of similarity, of an intimate connection between the
whole and the parts, an interconnected structure of the universe, etc.), which
explain the whys and hows of magic, thus solving the logical-rational conflict.
In the fields of religion and the supernatural then, there isn't any problem
or frustration felt with a lack of resolution to the logical-rational conflict.
But in artistic magic-which does not depend on the existence of faith
( other than a faith in reason) and does not lie in the realm of rational and
logical reality-the logical-rational conflict presented by the existence of
the magical artistic effect, of the secular miracle, remains unresol~ed:
is the impossible possible? This can produce various forms of frustration:
unsatisfied curiosity, the desire that everything fits within the structures
of logic and reason, a sensation of having lost an assumed battle of wits
with the magician-artist, a feeling of having been fooled, discomfort at
experiencing the limitations of our senses (I saw it, but it's not true),
our logic, of our reason, of our attention and of our memory.
End of digression.
f'Solution" to
Fascination of the Granted Wish
artistic magic, there is the conflict of the symbolic-metaphoric wish,
it is resolved. The impossible wish is satisfied by the magical effect,
·ch fulfills the impossible wish by making it possible. This produces
great intellectual, emotional and vital pleasure in usi; an artistic plea-
e, sometimes felt only in a subconscious form; and that pleasure (along
'th other factors we will discuss later) weakens or prevents the possible
stration of the unresolved logical conflict, allowing us to release accu-
ulated mental tension, as well as the related physiological tension (refer
the diagram on p. 248). How is it possible? It can't be gives way to How
vnderful! My wish is fulfilled. What a beautiful art!
possibility and Fascination-
he Two Factors of the Art of Magic
have now arrived at what I believe to be the essence of artistic magic,
hich I introduced two pages back: that the art of magic has two essential
omponents, the impossible and the fascinating. Any proposed magical
feet should be impossible and also wished for. When that effect is ful-
Jilled, when it reaches its climax, when it grants the impossible wish, when
;it appears, breathes and lives, it becomes fascinating.
I think the two factors, impossibility and fascination, are necessary in
the art of magic. If magic did not offer the impossible, it might be beau-
tiful, harmonious, surprising, lyrical, but it would be theater, poetry or
dance. It would be art, but another art. It would not be magic.
For example, if a dancer makes a high, beautiful leap with a graceful
and charming turn, it might be amazing and beautiful, but it is dance, not
magic. It would be magic if the dancer remained suspended in the air in a
totally impossible way, without support, without cables, nothing!
Magic must also be fascinating. It is certainly true that defying physical
laws is in and of itself a feat, a demonstration of superpowers. This is par-
tially fascinating. But I believe that for magic to be art it has to be Fascinating
With a capital F. Since we, as spectators, know that there is a natural secret,
a .......\. .. U.'L•-'-' cause, that produces the miracle, making it impossible\ only •
appearance, the fascination of the impossible can become a simple enigm
or puzzle, perhaps amazing or interesting, but outside the realm of art.
. To give a very exaggerated example of a trick that is not fascinating,
suppose a magician, at a distance and without touching someone, were
able to break that person's arm. It would be impossible, we would be
astonished, but it wouldn't be fascinating (I hop~). It would not be art.
· Besides the fascination that produces the impossible experienced as
possible (and our fascination with the demonstration of the magician's
power), I think the feeling caused by fascination can be accompanied by
other complementary elements: beauty in the magician's gestures, poetic
patter, humor, joy, lighting, music, etc.
The Fascination: the Symbol
At the risk of becoming repetitive, let's look in greater detail at the nature
of the type of fascination that is specific to the art of magic: a dream wished
and never fulfilled; something that escapes normal, natural, everyday
powers (the usual ones of seeing, hearing, eating, perceiving the present,
remembering the past ... ); an impossible wish made possible only through
extraordinary, superhuman, semi-divine powers; a wish we would like
to achieve, possess and enjoy, such as :flying, resurrection, knowing the
future, making inexhaustible wealth.
Such desires are sometimes granted in a direct and explicit way in
the effect of the trick: levitation, Sawing a Woman in Half, paper trans-
formed into bank notes. But other times, as we've seen earlier, the desires
are implied by the effect, given in symbolic-metaphoric forms. Sometimes
these are hidden and transmitted subconsciously. Let's remember the
examples of the Cut and Restored Rope (resurrection), the Egg Bag (cre-
ation of life), the Ambitious Card (power, ascension, liberation ... ). In the
section on symbolism in magic (p. 71 ), I analyze in more detail the chronol-
ogy and nature of the "facts" and "proofs" that have gradually appeared
along my path and have made me understand (or believe I understand)
the existence and truth of the explicit and non explicit symbols in many
ical effects, especially in those that we consider classics; and
ting enormous power this offers to the magical and artistic value.
Here are some examples of the syrµbolic-metaphoric conflict: We would
to create something from nothing, to read other people's thoughts, to
invulnerable, to escape in a :flash from restraints and troubles, etc.-but
can't. It is impossible through natural means to achieve these desired
ams, archetypal to all humanity (Jung made us see tpis). Then along
es artistic magic-poof!-allowing us to .live our dreams as possible;
d that fascinates us and charms us. At this point, yes, magic is art.
The magician· makes us live our dreams in reality. He invites us in, he
troduces us to the realm of dreams, where everything is possible, where
can live out our wishes of immortality, creative power, unlimited
alth, ability to animate objects, ascension, transformation of people
etamorphosis), the gift of ubiquity, etc. Is this not fascinating?
And as we have seen, this symbolic-metaphoric conflict has a solution:
e magical effect itself, which makes the impossible wish possible.
Here lies, in some way, I believe, the difference between the good effects
f artistic magic and those that are simply puzzles. Good magic always
olves the impossibility of something. strongly desired by everyone. (I will
eturn shortly to the discussion of the quality of a magical effect.)
ymbiosis of Conflicts: the Magic Conflict
So ...
.The logical-rational conflict is not resolved (How is the impossible
possible?).
The conflict of the symbolic wish is resolved through the magical
effect that brings it to life.
Compensation for the unresolved logical conflict is taken care of in
some way by the fascination produced by the experience of the impos-
sible wish granted. This produces in us a sense of pleasure and joy that
minimizes and almost makes us forget the possible anxiety or curiosity-
sometimes frustration-of the unresolved logical conflict. Not only does
it not matter to us, but we are even.grateful that it is not resolved. We are
 248 249
i1
t:n
grateful not to know how it was possible, because that would take us out
of the beautiful dream, it would wake us and prevent us from enjoying it ~
CLIMAX >
G'.)
We can then say that the symbolic conflict (Is it possible that my wish .....
LJ
which I know to be impossible, is fulfilled?) is resolved by the magical effect' r-
(It is possible. Let's live it.). At the same time, the logical conflict (How was
Ql
C
cc
~
.....
it possible?) is resolved in a poetic fashion by the art of magic. The possible :::r L'.
frustration is forgotten, because of the fascination of t~e experience: The wish
..,co cd
0
was ·granted and accompanied by various pleasures. Who wants to interrupt
~
Time·
and awaken from such a beautiful dream, full of joy, pleasure and happiness? Relaxation by laughter at the illogical
We are, then, dealing with a kind of symbiosis of the two conflicts: the
herefore, of illusion. It only seems like a miracle. So the How is it possi-
logical-rational and the impossible wish (symbolic). Due to this symbio-
e? It can't be! can also be answered with the inner sensation of I don't
sis, from this point on I will refer to the two as one: the magical conflict
now the exact reason for its apparent impossibility, but I know one
(symbolic), which is an artistically resolved conflict that doesn't leave ·
ists. Logic remains completely valid.
frustration and that produces great fascination.
If that knowledge didn't exist-which is to say, if we believed that
ogic is worthless, that reason fails, and if we do not rely on the tranquil-
ing solution provided by faith (religious or supematural)-we would
e on the verge of some kind of senselessness, of logical discrepancy, of
adness. It would unsettle us by breaking our logical structures in a per-
manent way. This is not the same as feeling that momentary emotion of a
temporary liberation from logical ties, which would be joyful.
And that's how another factor has already presented itself to us, with-
Time
Magical conflict (symbiosis of both conflicts) out asking permission: pleasure.
The symbolic conflict is resolved by the magical effect (the desired impos- Let's begin with aesthetic joy and pleasure, the pleasure of art. We
sible has been made possible). The fascination produced diminishes and feel it from the harmony of the plot of the trick, its dramatic structure,
likely makes the tension of the unresolved logical-rational conflict disappear. the rhythm and the pauses; but, above all, from the sheer beauty of
As a side note, I'll mention that in cases where the symbol of the wish the magical effect: to levitate, to make inanimate objects acquire a life
fulfilled does not resolve the conflict, spontaneous laughter at the absurd, of tMir own, to divine what we don't know (the little car). We receive
at the illogical, at the physiological tension felt, could be what helps spec- pleasure too from the emotions of surprise, suspense, astonishment,
tators relax their psychological tension. the final crescendo of effects growing progressively stronger and more
But there are, as I mentioned, other factors that help dissolve the frus- magical, the experience of liberated fantasy, of artistic creativity made
tration and "solve" the logical conflict. evident in the effect or hinted at in the method. We can almost hear the
The first is the spectators' knowledge (and the magician's) that the echo of the Muses whispering into the attentive and sensitive ear of the
secular miracle is not a true miracle, that we are in the realm of art and,
 250
On yet another level (magic is complex and multifaceted), what c
we say of the playful, festive pleasure we get from participating in a magic
session? We are, after all, Homo ludens. There is a reason magic tricks are
called magic games (juegos de magia) in Spanish.
We also feel that festive, almost Dionysian, emotion through living the
experience of childhood regained ( a return to paradise?), the sensation
of returning to innocence, to that state of grace of the pre-logical age. It
is in this way, as a game, teasing and making fun, calling to the essence ·
of Homo ludens and the pre-logical child, that we experience seeing our
dreams, visions, desires and longings. What a joy!
And do not forget the innate pleasure of imitation when we play at
imitating the gods. This pleasure leads to diminishing the gravity and seri-
ousness that remains in imperious, unsatisfied curiosity, and therefore
reduces all possible frustration.
Another pleasure that magic produces, one on which our art is in large
part founded, is the pleasure of experiencing mystery, of having an adven-
ture on the edge of the unknown, of exploring (in the joyful company of
all the surrealists who have ever been) the borders of the possible and the
impossible, of reality and illusion, of wakefulness and dream-a dream
lived in reality, the artistic reality.
Even more, there is the pleasure of feeling that we are experiencing a
unique moment, a special event, unusual, sometimes highly so, and almost
always memorable. How many times have our spectators told us, "I still
remember when, many years ago, a magician told me what I was think-
ing," and "I saw a magician link and unlink some metal rings. I had them
in my own hands. They were completely solid! I remember it as if I were
holding them now."
All these factors-liberation from logic (but only in artistic reality),
aesthetic pleasuie (beauty, harmony, creativity, emotions ... ), the plea.5ure
of play (''juegos de magia", "imitating the gods"), the pleasure of the party,
the pleasure of experiencing mystery, the adventure of the unknown, the
pleasure of the "unique moment" and the supreme pleasure of the impos-
sible wish granted, finally experienced as possible, directly or indirectly,
251
sciously or subconsciously through symbolism. All these factors, I
eat, constitute the magical emotion: feeling and living the wonderful.
We don't hear, we don't listen, we don't even want to listen now, to the
ice of astonished logic, as delighted as we are in enjoying the flight on the
ck of the Winged Horse of Fantasy and Imagination, traveling through
oms full of marvels and granted the dreams of The Magic Rainbow.
~other factor that helps in the eradication of frustration is the attitude
>of the magician.
Let's dig a little deeper into this. We have seen that after the impact
;0f amazement and astonishment on our logic and reason-in which we
;believe and love, and which helps us so very much to live-reason (espe-
cially in the first part of a magic session, with logic rearing up, and before
we feel the poetic fascination) might give us its How is it possible! And
after not getting an answer, we might feel, as spectators, restless and dis-
appointed in a way, or even somehow frustrated (this is more likely in
people whose inner balance doesn't enjoy sufficient self-assurance).
That frustration could be directedat the artist "who knows and doesn't
tell us" or at the spectator himself: "Am I stupid? Did I get fooled? Are
my·senses reliable?" The resolution of this frustration can be aided by
the attitude of the magician. That attitude must not be arrogant, challeng-
ing, condescending, but must share in the experience, accompanying the
imaginative half of the spectator's brain so that, between them, magician
and imaginative half, they overcome and leave the logical half of the brain
temporarily defeated. This is something the magician can transmit and the
spectator feel, to avoid or nip in the bud possible frustration or a negative
attitude toward the magician. And that transformation, expressed nonver-
bally, is effected by the attitude of the artist.
The Realm of Art-Safety
A.s an interesting sidelight, we know deep inside that, as spectators, we are
not fully in reality but in an artistic reality, that we are living a dream, and
252
that the magician doesn't really have supernatural powers. But also, we
would quite possibly realize that only after the astonishment we "suffered"
and perhaps after having lived through the impact of symbolic fascination.
Furthermore, the knowledge that we are in the realm of art helps us in
some cases to feel safe and in a way secure. Just as in a horror movie we
experience a pleasurable and safe form of horror ("It's a movie. There is
no danger."), as magic spectators we might feel f~ar when learning there
are "powers" that seem benign to us but are undesirable, even fearsome
'
if others really possessed them. Wouldn't it be terrible if we believed there
were a person who could read our thoughts? I would be frightened to
death to find that this last stronghold of freedom and intimacy is no longer
inviolable, and I would probably shout to the world, "Stop, I'm getting off!"
Of course, let's not forget that art can sometimes have other objectives
than providing us with a feeling of safety. It might make us feel restless or
pose unanswerable questions about life, pain, death .... Art is free.
Thus, in magic, when a full deck of cards disappears and doesn't come
back, if done in a convincingly magical way-in full view, in the magician's
hands, with two spectators holding his wrists-it always produces a cer-
tain discomfort and at times an intense and lasting restlessness (I can tell
you from experience!). It's the experience of fear of the void, of the defin-
itive disappearance, the symbol of death.
We can find magic effects in our literature that search to make the spec-
tator feel alive or to question himself on those not so innocuous subjects. 177
The Quality of the Effect-The Quality of the Symbol
We have seen that there is an element that can provide artistic power
to a trick It's the quality of the wish later fulfilled. If the impossible
is circumstantial, being impossible only because of the moment or the
place-I wanted a. glass of water and didn't have one, so the magician
I
made a glass of water appear to quench my thirst-the quality of the mag-
ical effect will be inferior to one involving something that is impossible
177. See Life, Death & Other Card Tricks by the always interesting Robert E.
Neale (2000, Hermetic Press, Inc.: Seattle). Also see his theoretical books.
253
der all circumstances, such as the exact and certain knowledge of the
ture.
Let's look at yet other nuances. Tr~sforming a blue piece of paper into
red piece of paper will not have the same magical strength as transforming
white piece of paper into a multicolored flower or into ~ bank note. The
t effect is close to a puz.zle, the others fulfill an aesthetic pr material wish.
Moreover, given that art is the domain of suggesti~n rather than of
emonstration or of evidence, a trick that fulfills the desfre for liberty in a
,metaphoric-poetic way (a chain of rings that free themselves and become
~eparate) will have a greater quality or artistic value than the more direct
one of fulfilling the wish for wealth (producing a bank note). The latter
may elicit more expressive reactions or reach more spectators (the wish
for money is rather widespread), making it more "commercial", but per-
haps the symbolic suggestion ofliberty connects and enchants at a deeper,
more poetic and artistic level, even if the symbol is not consciously per-
ceived by the spectators-they don't need to perceive it!
To put my views another way, although the circumstantial effect of "I
want a glass of water and the magician makes it appear" would have an
undeniable magical effect, the universal wish-of everyone, any place and
always-for immortality, fulfilled in the symbolic-metaphoric way of the
Cut and Restored Rope, possesses a poetic quality, suggested and felt on
a subconscious level, and awards the effect great refinement and exqui-
site artistic quality. History, the incorruptible judgment of time, seems
to agree. Over four centuries of the Cut and Restored Rope-presented
always and everywhere, by all amateur and professional magicians-tells
us something about its artistic strength.
~.. But as is the case with everything or almost everything in art, it can't
be achieved through absolute rules, but through attempts to approach the
significance of magic as an art.
Magic doesn't imitate reality. Magic invites us to dream. It imitates the
gods. That's why magic is self-sufficient. Its beauty resides in making us
live the desired impossible. It is, thus, an authentic art of enchantment (as
Father Barc6n so rightly called it).
 254
The Magic Conflict and Its Dramatization
Until now we have concerned ourselves with the moment in which the
magical effect is produced. But what happens during the previous deve_ .
1
opment of the necessary actions that lead to it? What happens if the
procedure, sometimes necessarily long, is also unnecessarily tedious
slow or boring? Quite possibly, some of the spectators, or all of them, Wi~
arrive at the moment of the climax of the effect without being prepared
to appreciate it, either because, by then, they are tired or uninterested, or
because they have lost some of the important details that make the effect
appear impossible. In any case the beautiful magical sensation will not be
experienced as it deserves to be.
Because of that-and taking into account what was said about dra-
matic curves at the beginning of this section-let's now examine in detail
how to achieve a good curve of interest, that curve concerning the magical
conflict, for the development of the proposition of living the impossible.
For a clear understanding, I will apply it to an exaggerated, almost
paradoxical example. The magician takes a deck of cards from its case
and shuffles it thoroughly. He then hands it to someone seated in the
first row, who also gives it a good shuffle, taking his time. The magician
retrieves the deck and has a card selected. The spectator looks at the card
and returns it to the deck without showing it to the rest of the audience.
The magician again shuffles the cards thoroughly. He then brings his hand
to the front pocket of his trousers and removes a card from there which
'
he shows to the spectator. The spectator nods; it is the same card. The
magician begins another trick
Let's assume that the control and the palming of the card were· exe-
cuted with good manual and corporeal technique, and were therefore
invisible. The method, then, has remained secret.
But what about the spectators' experience of the magical effect? What
did they feel?
Probably, at most, a cold, faint curiosity about how the card made it
into the pocket. They have been given an unresolved brainteaser or puz-
zle, but it lacks interest.
~
255
tTI
The corresponding curve would bersomething like this:
~
>
CJ
......1
n
~
.....I
L'.
oj
0
~
In other words, as a dramatic curve it is-a total disaster!
Let's analyze it. When the magician takes out the deck, he begins
mething, and that arouses a certain interest: He's going to perform a
·ck When the person in the first row shuffles and shuffles, interest is
mewhat reduced, since no one can see his face and what he is doing.
his causes a period of silence, of waiting, which becomes long and bor-
g. The magician then has the person select a card and look at it without
owing it to anyone else. This creates a certain frustration. If, added to
hat, the magician doesn't talk, or talks only to the assisting spectator, the
rest of the audience doesn't hear it or is not sure what's going on: "I think
he asked him to take a card ... I think. .. I don't know."
Interest increases somewhat when the spectator looks at the card and
:returns it to the deck, and the magician shuffles. "He must be losing it."
But since he shuffles and shuffles and shuffles and cuts, the whole thing
begins to become long and boring. Then the magician takes a card from his
pock@t; interest increases: "Is that the same card?" The solution doesn't
arrive clearly, because the magician shows the spectator and he seems to
nod his head, although neither the card nor the spectator is clearly seen.
Maybe people think: "It must be the same one." And with no further clari-
fication, the magician begins a new effect.
As you can see, the curve is generally flat, with important dips-the
spectator in the first row shuffles, his face isn't seen, he is probably clumsy,
 256
and the shuffling takes him some time-and with certain deficiencies i
the information received-the chosen card isn't seen, and people can
be sure that the card that came from the pocket is the same one. If t
procedure is not clearly followed, interest in the rest is likely to decrease
and the trick may get boring. When the climax arrives, the potentially
wonderful effect of the card traveling to the magician's pocket cannot be
appreciated and its impossibility can't be felt. Neit~er can the symbolism
that would theoretically produce fascination. All this is an example of bad
communication, nonexistent dramatization, lack of clarity and terrible
handling of emotions.
External Presentation
To correct all this, one might tend to search for what people have come to
call "a good presentation": perhaps a few comments that arouse emotions
maybe a couple of jokes or comedic moments, possibly more elegance'
through gesture and attitude, etc. All these would undoubtedly "dress"
the trick better. People may laugh at the jokes and humor or be touched
by the dramatic remarks and grace, but the magic, the impossibility of the
effect and the fascination of its symbolism, would hardly improve.
It would be embellished or become more "commercial" or "entertain-
ing", but magically speaking it would still be weak
Clarifying the Effect and Improving the Dramatization
Another option, much better in my judgment, consists of two processes.
The first is to improve the communication of the proceedings to the
nonparticipating spectators, through gestures, words, etc.: "Take any
card you like. That one? You can change your mind; there are lots, there
are fifty-two. Show it to everyone. Put it back wherever you want. I will
shuffle tho11oughly to make sure the card is totally and hopelessly lost
among the others. Now, a magic pass-and it's done! Yes! Look, here in
my pocket there is a card, only one card. Which one did you take? The
Three of Clubs? Well, this card is, precisely, the Three of Clubs!"
In this way, throughout the trick you clarify the details of the proce-
dure, the nature of the effect and how impossible it is.
257
The second process consists of improving the dramatization through
intrinsic emotions of the trick; not the external ones that are added,
th'e ones that are built into the pro~edure of the trick Let's look at our
n
ple effect again. We will attempt to make every moment of it inter-
ting, especially those that pull down the dramatic curve. ,'
We start by assessing whether it is possible to remove, ,ito trim, super-
uous actions that hold little interest. For example: What's;the purpose of
aving a spectator shuffle the cards at the beginning of the trick? The effect
•is a "miraculous trip", and having the deck shuffled before a card is selected
makes no difference to that journey. It's a purposeless, unnecessary action.
We can then try to make the beginning of the trick interesting. This can
be done even before the trick starts, through an impossible promise. For
example, you point to a spectator: "Now I will make you travel through
space and take you inside my pocket!" There is no doubt that this prom-
ise, being absurd, magical, incredible and amusing, introduces the trick
with an extra measure of interest. If the curve of the trick normally begins
at an interest level of zero, the same curve will now start at a higher point;
and when the climax arrives, it will reach a higher level of interest as well.
It will undoubtedly have a much more dramatic and interesting climax.
If, before asking the spectator to choose a card, you ask him to stand up,
his face is now visible to everyone and communicates to the general audi-
ence his incredulity or amused surprise or other emotions. This provides the
moment with feeling and interest. A question such as ''Are you willing to do
this?" would probably elicit an answer from him revealing something surpris-
ing and interesting. You could then say, "Please select a card with complete
freedom; search and research. Show it clearly to everyone and, for it to
acquire some of your identity, sign it. "As he proceeds, you address the rest
of the audience: ''Since the trip is very dangerous ... "You pause and look at
the spectator. "... would you prefer me to make just your identity, repre-
sented by your signed card, travel, instead of you?"
The spectator usually nods and gladly accepts this option. (If he pre-
fers to make the trip in person, go ahead-and let me know how you did
it.) "Put the card back wherever you want. We will lose it completely
with a very shuffle. " Mix the cards while watching your hands,
As you do this, everyone must be convinced the card is hopelessly lost.
The element of conflict is growing. (Normally it would be better to adhere
to the classical sequence of having the card returned to the center of the
deck, doing a Pass, then a Palm, handing the deck to the spectator for
shuffling, then retrieving it and secretly adding the palmed card to the
top. That's clearly superior to controlling the selection through cutting fol-
lowed by an overhand shuffle, a procedure used so frequently nowadays;
but that's another story. In this case, it would be enough to do the Pass and
Palm, and then let the spectator shuffle and keep the deck. However, we
intend to adopt a more nuanced procedure.)
We continue: You make a gesture of throwing something from the
deck into the air. Follow the invisible card with your eyes, all the way
to your left trousers pocket. This visual acting out of the effect and the
magical gesture that produces the illusion are essential, inescapable.
Expectation mounts while you hold the deck in right-hand end grip, with
its back toward you and your empty right palm facing the audience. Bring
your left hand to your left pocket and touch it .... You feel nothing there!
Surprise. You have failed.
The spectators now experience complex sensations from a combination
of emotions. "Poor magician! I knew it was impossible. What is he going to
do now? ... It was a joke." Some people will be feeling something more like:
"Well, I'm almost happy. He wanted us to believe he is a superman, but he
isn't." With this, interest builds and builds. Meanwhile, during the relaxation
following your apparent failure, you have executed a one-handed palm of
the top card (the signed selection, which has been controlled to the, top)
into your right hand. You transfer the deck to you left hand, look at your
right trousers pocket and then at the spectators, crossing your gaze with
motion of your rightihand, which goes to the right pocket. The hand briefly
enters the pocket, leaving the palmed card and comes out empty. At the
same time, perplexed, you mumble to yourself, "Not there either?"
More tension. You let your right hand be seen empty while you look up
into the air and smile. You seem to visualize something and follow it with
gaze. You gesture with your right as if catching something
the air, which you then throw toward your right pocket, your right
' always turned toward the spectators. Pause while you show satis-
tion. The spectators perhaps feel: "Well, so what? Is he still playing?"
u get a little closer to them, where everyone can clearly see you. You
slowly place your empty right hand into the right pqcket. This time,
en ,
s, you seem to find something there. Bring the card only half way out of
e pocket, its back turned to the audience. Carefully, with some anxiety,
at the face of the card, bowing it slightly while keeping the other
half inside the p~cket. Name a card; not the one you see, but one very
iunilar: "Is your card the Two of Clubs?" The audience says, "No." Your
smile freezes. "What was your card?" They tell you it was the Three of
Clubs. The spectators' tension grows and they again feel an emotion, that
f failure. This, by the way, should be sustained for only a brief moment,
prevent it from becoming fixed in memory without the possibility of
asing the sensation that the magician truly failed. This is a danger this
emotion carries.
Without further pauses, you look again at the protruding half card and
openly smile. "Glad to hear it, because this card is-in fact-the Three
Clubs!" You pull the whole card from your pocket and display it high
the air, turning it to make sure everyone can see it. "And with your
signature, of course!" Hand it to the spectator who signed it, who nods in
agreement. Then say, ''Magic!"
Smile and look at the spectators while they enjoy the miracle. You enjoy
it too, in sympathy with them. After the pause for assimilation has been
fulfilled, and only after that, begin the next trick.
"'As you can see, the effect and its method are unchanged, but the
expository clarity, as well as communication with the spectators and
their emotional involvement have been improved enormously, making the
procedure more interesting and the effect clearer, more powerful, mem-
orable and poetic. In other words, the effect hasn't been simply dressed
up and embellished with external elements-something not entirely neg-
ative, but not truly necessary-it has also been clarified, communicated,
 260
261
dramatized, and its magical quality increased through the intrinsic erno--:
New Conflict: the Dramatic Plot
tions (an impossible promise, apparent mistakes, suspense, challenge ... )
we have seen, magic is self-sufficient, but that doesn't mean it can't
and the handling of the pauses: a dramatic one before the climax, the
pause for assimilation afterward, and others after proposing the challenge
metimes be accompanied by a story or plot that adds to the fascina- n
n of the whole and brings its own dramatic conflict and subsequent
of the magical translocation, etc.
solution-or perhaps no resolution. Here we find ours/elves in a sim-
The curve of the trick is now something like this:
situation, though not identical, to adding comedy (tbkes, gags and
CLIMAX morous bits) that is external to the magic, and which produces healthy
ughter but can also, sometimes, weaken or castrate the rhagical effect. 178
<l>
en Assimilation
C:
Q)
But here I wish to deal with the addition of a story or plot of a specific
a.
More ~ type. Let's explore.
mistakes? w
The first thing to say is that a story can have a strong positive compo-
nent, like that already mentioned: adding fascination to the trick-if the
story and plot possess that attribute.
They may also help to avoid possible frustration felt if the logical part
of the logical-magical conflict isn't resolved.
But stories and plots also present dangers-dangers to avoid. (As
always, there is the difficult balance, walking the tightrope specific to art.)
We find then that there is a tug-of-war between the logical-magical conflict
and a dramatic conflict with a plot.

(J)
i5 (J)
·- en
cn·-
cn E There is, in fact, a particular problem to solve: The danger that the story or plot
Oo
a.1..
Ea. can blur, divert, even eliminate the sensation of the impossible made possible,
which is to say the quintessential quality in our art. By the early twentieth cen-
Time
tury,. John Nevil Maskelyne stated with certainty in Our Magic 179 (and not, in
I repeat that the option just described is not incompatible with embel-
my belief, without foundation) that if magic and drama coexist (understand-
lishment through the external presentation of the trick and its procedure
1 ing drama as a plot, sometimes theatricc1Jized), drama will always win, and
as long as the greatest care is taken not to interrupt or spoil the emotional
magic will always lose. Maskelyne experienced this first hand, along with his
development of the effect's magical impact. So, yes, if aside from being
family. Recall the fiasco of the Maskelynes near the end of their very success-
powerful and emotibnal, the trick is also, magically speaking, deliciously ful career when, with all their vast experience, they opened in London with
dressed up and embellished for a joyful party, so much the better! a theater play containing their best and most successful illusions, thousands
But there is a third possibility, one not incompatible with the two
178. See "Magic and Comedy" in Chapter 8, p. 407.
we've just discussed: adding a fictional plot to the trick that provides its
179. Our Magic, Nevil Maskelyne and David Devant, George Routledge & Sons:
own curve and dramatic conflict.
London, 1911.
 262
of times enjoyed and applauded. The opening was a huge failure with aud}
ences and critics, and an enormous disappointment to the followers of
Maskelynes' magic, which until then had been direct, pure and powerful.
They invited the participation of the great David Devant, a long contrib.:
utor to the company, but Devant refused (intuition?) to join this magical
theatrical venture. They redesigned the show, using the same effects but
presented without a plot. The magic was direct, moving, symbolic and
powerful, and their artistic success was now fulfilled. 180
I believe, in general, that the problem is this: If there are dramatized
effects, with a plot-and moreover, if they are acted out rather than nar-
rated-magic, in its aspects of the impossible, becomes weaker. I have
qualified this with "in general" because, as in every art, there are excep-
tions. Hofzinser, Slydini, Rene Lavand, Dai Vernon and Fu Manchu, among
others, achieved a certain balance, difficult but possible, between drama,
plot, narration and powerful magic. We will later discuss in detail how
they did it. But first let's analyze the dangers of and reasons for this seri-
ous difficulty of a coexistence between drama and magic. 181
Destruction and Excessive Demands
The smallest of these difficulties is the distraction the dramatic plot can
cause, weakening or preventing the fixation of details of the magical pro-
ceedings that later, upon the arrival of the effect, need to be clear in the
minds and memories of the spectators for them to appreciate, in all its
180. In my already long and abundant experience as a spectator and a performer
of magic, I have seen in the work of others and my own many of the mistakes,
problems and difficulties in attempting to bring drama and magic together.
Most of these attempts were quite disappointing, though not all.
181. The Brazilian magician Ricardo Godoy Harada, whom I believe has a back
ground in theater, presented as his doctoral thesis at the Universidad Estadual
de Campinas (UNICAMP), in Brazil, a thoroughly documented work on the
different approaches to this subject, including his own. I highly recommend
it. By the way, Harada presents a beautiful act of theatrical magic, styled
after Magritte, with the imagery and atmosphere of the great and magical
surrealistic painter.
263
ns1·ty, the logical impossibility of the experience they are having. If the
t and its development are very interesting to them, they will not be able,
the same time, to properly register the details of the circumstances that
e the effect impossible, that make it miraculous, that make it magical.
Let's remember that magic requires or, more precisely, !demands from
ctators an almost totai concentration in everything that is happen-
with no loss of details, so that later, when the magical effect arrives,
'
ey can experience it as being totally impossible. They nptice the empty
ands of the magician, or that he doesn't touch or get near the slates; they
emember the name of the card or the number chosen, how many coins
in each hand at every moment, the color and size of the balls held
tween the fingers, the emptiness of each part of the box shown, etc.
In other words, magic is extremely demanding on the memories and
ttention of the spectators. If they get distracted for a second, if they miss
single detail, if they don't remember a certain circumstance at the end,
hey will lose the impact and the sensation of impossibility!
From this it can be seen that adding elements and situations demand-
:ing thought, emotion and memory, that asking spectators to follow a new
dramatic conflict in the plot, can often be too great, too taxing or utterly
exhausting. In the worst of cases, it creates confusion and the impossibil-
ity of appreciating the impossible. Only when the procedure of the magical
effect is very simple and direct, and contains few elements to memorize
and follow, can a dramatic plot avoid being distracting or hampering,
thereby producing confusion. ("Confusion is not magic," ~ Professor
Vernon used to say.) Even then, the plot should be simple and direct.
Now let's look at other elements that I believe can cause such conflict.
-'\
1\vo Levels of Reality: Presentation and Representation
The actions we carry out in everyday life take place, by definition, in real-
ity. If we speak, move or interact to show something to others, we are
presenting that something (ideas, situations, actions, attitudes ... ). And
we are being ourselves, ourselves as people ( of a certain age, gender and
personal experience) who do these things.
 On the actions we carry out in a dramatic or theatrical
context, or within a scripted narration (a story), take place on a second
level of reality, a fictional reality that is inside ( or behind?) the truer reality.
Therefore, whatever impossible things happen in it, they have a connota-
tion of fiction, of not being real. No matter how much we are impressed or
moved by the death of a character in a piece of fiction, it will never have
the same emotional impact on us as the death of s9meone in our reality.
It is quite clear that, when presenting a magical effect, even though it
takes place in reality, the spectators are aware they are playing; they are
pretending that the miracle, the impossible, is not truly and really impos-
sible, especially once they've recovered from the astonishment produced
by the shock of the apparently impossible. With that we face a miracle
that is first felt in reality, even though later it is understood to be an artistic
reality. In other words, we have a miracle that is experienced as such, but
that is later known not to be one, and is thus transformed into a work of
art, a beautiful magic trick
Aside from that, if the first reality is not the true reality but an imagined,
invented, recreated, scripted reality of the second degree, it is evident that
the impact, the sensation of a miracle, of impossibility, will be weakened:
We haven't presented a miracle-we have represented it. And we have
represented it in a world of fiction in which the impossible is weakened
and is less impossible or doesn't exist at all because it feels possible. Its
existence is "natural" within the fictional situation proposed by the magi-
cian and that the spectators have agreed to feel. (Understand that "fiction"
here is unreality, which is different from the concept of fictional magic
proposed by my esteemed friend, Gabi Pareras.)
Person, Personality and Character
This weakening effect is dramatically increased in those cases where the
magician represents-or more precisely, re-presents, rather than plays
the part of-the role of a sorcerer, a superhuman or a goddess. · of the Magic Pyramid, in Chapter 7: my disagreement with the phrase of my
This means that, if instead of witnessing an impossibility presented
by a person in reality, we witness an impossibility presented by a fictional
aracter within reality (a on a second level), it is not surprising
the impact in this second case is considerably weaker. 182 This partly
lains the virtually nonexistent m~gical effect in illusions that (being
•Jllagnificent in their technique and perfectly embedded in the plot) are
resented (re-presented) to us in a theater play (in music~ls, for example)
actors who play the roJes of fictional characters. 183 ;
I
When we perform and present magic, I feel we are ourselves (age, gen-
personal circumstances). We are the same person. We are not playing
the role of another person. We only add the ability of doing something
impossible (logically impossible). We are in the domain of play, but the
trick is produced in reality, not in fiction. The chess player, the child who
runs to catch another child before he strays into the lion's den, the poker
player; they are themselves "playing" in reality. They are not playing the
role of someone else; of a king or a beggar, of an older man, of a prostitute
or a serial killer. They are themselves acting out the circumstances of play:
The card player might pretend to have a very bad hand and to be annoyed
by it, but we don't call him an actor playing the part of a card player.
We play roles in everyday life. The driver whom a traffic cop catches
crossing a solid line on the highway will feign innocence or absentmind-
edness. "I didn't see the line." But we don't call him an actor playing the
part of a driver caught breaking the law.
So, magicians are people, not fictional characters, who present some-
thing apparently impossible and pretend to have supernatural powers.
Regarding the subject of person, personality, and character, 184 I have
to add that, in my opinion, when we present magic, we choose that part of
our personality we wish perceived: our more dynamic, elegant or cheerful
18:1. The same happens with the extreme weakness of magic in film (in a fictional
movie, not in a documentary) or in a dream, a realm in which it is not possi-
ble for something impossible to exist.
183. It seems appropriate to advance here what I will discuss in the description
highly admired Robert-Houdin that "The magician is an actor who plays the
part of a sorcerer."
184. More on this subject in Chapter 7, p. 375.
side. no different than when we have a 1 n-i:-c,r,;nc,,,xr or are trying to
woo a lover. We display those features we think most attractive to the
person we wish to impress: for the job interview, seriousness, leadership,
a passion for work; for a lover, cheerfulness, charm, sensitivity, beauty,
elegance, intelligence (Why am I describing myself?). Assuming that we
don't lie or pretend to have these virtues, we could say that in those cases
we have composed a character, which brings us close to theater or fiction.
We could say that, but I won't be the one to say it. I think it is rather a
selection on our part, as authentic-although often improved by a dose of
exaggeration-as any other version of ourselves.
Therefore, in magic, I don't believe much in the "creation of a char-
acter" for performing and representing, but rather in the selection of
authentic components of our personality, not invented ones, to showcase
our persona as we like or wish to convey and express it through the art
of magic: the selection of tricks and effects, of gestures and attitudes, of
words and their intonation, of the relationship with our assistants or with
the assisting spectators, etc.
This doesn't mean you must limit yourself to the aspects of your
personality generally considered positive. One may want to show an
aggressive, melancholic, cynical or disappointed side of one's personality,
but it should be expressed through the artistic magical language. There
is nothing wrong with that, as long as it is carried out within the ample
domain of art. 185
To give an example that clarifies my opinion, I think we would unques-
tionably fall, in this case, into a theatrical fiction even into nontruth if
' '
we were pessimists who felt life a tragic affair, in pure Unamunian style,
but we pretended to be a vibrant example of optimism, glowing with
the joy of existence, and we expressed this, or tried to express it, or we
believed we were expressing it, through the vehicle of a magic session.
185. In London I once saw a magician whose aggressiveness toward everything,
including the furniture, and even toward the spectators whose assistance he
required, resulted in his audience gradually leaving the theater during the
show, until he was left alone.
·sis something a theatrical actor does need to ~~,,,.,r,.TTr>• lHLI,v.u.,u•• Hitler
"le having the convictions of a pacifist. One could argue that a magician
ho is an agnostic ot atheist could be playing God when presenting a
JUiracle; or a logical and rational magician might pretend to be a believer
in the supernatural. But here we are once more in the reflm of play, of
wake-believe, where there are powers, hazards, destinies, S:omething that,
n0 matter how rational we are, will never, in my opinion,
. be excluded
from our overall conception of life and the universe.
If you allow me to give a personal example, I feel I am more my own
self when performing magic than I am in many other circumstances of
life, where my shyness prevents me from expressing myself as freely as I
would like.
Returning to our general subject and summing it up, we can conclude
that the realm of magic is not an entirely real place, but neither is it imag-
inary or being represented. It's the world and the realm of play, which
belongs for the most part to a reality of the first degree, to the perfor-
mance, to the person. I think this makes it quite clear how difficult it is
to present magic in an evident realm of fiction or theater. The magic and
its effect (the impact of the impossible it carries with it) will be all the
stronger the closer or more within reality it is and the further it is from the
theatrical, the world of fiction.
Sometimes, however, the addition of an external conflict provided by
a dramatic plot can help tricks and effects that are not very powerful; or
that don't require much attention, being visual, fast, etc., but are some-
what cold in themselves; or ones that have a lengthy procedure before the
arrival of the magical effect.
R plot, patter and dramatic situation can make the procedure more
interesting. They can propose a situation, establish a frame in which the
trick is developed and make of it all something special within the whole
session (an appreciation of how strange, poetic, surreal or imaginative
the dramatic situation is). It can even help bring several isolated effects
together in a routine, thanks to a connecting thread of plot. But in those
cases I think it's convenient to have certain ideas in mind to help us make
'
 268
the coexistence of magic and a dramatic plot positive, so that magi~ a
plot-that is, magic and evident fiction-don't fight between themselv
This is to say, the conflict of conflicts should be weakened as much
possible. We will later see some examples of this.
But we have yet to approach a third feature to explain the reason for
the difficult coexistence between magic and drama:
Forward and Backward
The dramatic interest contained in a plot of a story, novel, movie or play is
based, as we know, on a dramatic conflict inserted into a static situation
that evolves into action that moves the plot forward and generates more
interest within the spectators; interest for knowing how the conflict Will
develop (future) and how it will end. As a result, this interest pulls us, as
spectators, forward into the future. So the stronger the conflict is, dramat-
ically speaking, the more interesting it will be and the more it will pull us
forward toward the resolution.
In magic, on the other hand, when the impossible magical effect
arrives, which is to say when the logical-rational conflict is presented to
us, after the moment of astonishment, the How was that possible? (was:
the past) shows up. Whether we are trying to discover that how and calm
our logic, or whether we are confirming the circumstances that produced
in us the sensation of having witnessed (past) something truly impossible
and marvelous, we think back briefly to what happened before the arrival
of the magical effect: liVhat was the initial situation and which circum-
stances were (always past) present in the procedure of the trick? Once
we satisfy our desire to ensure the wonder, we move on to pleasure and
delight, to the enjoyment of the secular miracle.
Let's take the 1\ventieth-Century Silks as an example. The spectator ties
the ends of two loose handkerchiefs together. They are balled up and set
aside. The magician makes another handkerchief of a different color dis-
appear. When he pulls out the first two handkerchiefs, the vanished one
appears tied between them. The spectator thinks back quickly, "The hand-
kerchiefs were loose and separated. I tied them together. The magician didn't
269
anywhere near them until the end. He pulled the comer of one of them
· ou,t doing anything special and yes! The handkerchief that disappeared
lier was there. Everything was very clear-It was a miracle!"
So, as you can see, the drama draws our interest forward and the
·c draws our interest backward. The former asks us What will hap-
? and the latter leads us to How did it happen?
Therefore, if we watch magic that is within a dramatic plot, when the magi-
effect anives, we face a dilemma: The drama asks us to pay attention to the
tinuation of the action, of the plot, to learn the resolution of the dramatic
·ct. However, magic, to be truly enjoyed, demands that we backtrack,
if only for a moment, to remember the experience. But it also requires a
ment to feel the astonishment, and a longer one to enjoy and be pleased by
e beautiful sensation of a miracle, to delight ourselves, savoring it.
What do we do?
The dramatic conflict calls to us, "Go on! Don't miss what's coming.
u'll see how the dramatic conflict is resolved." Magic holds us back:
ait, go back to the past, so that you can see how clear the conditions
re and, therefore, that you have experienced the impossible, the won-
erful and magical; and take your time to.enjoy it."
The normal thing would be: "I'll go on to see how this interesting dra-
atic conflict is resolved, and later I'll come back to see what happened
and enjoy it."
But later is too late. When the drama is over, we relax and are no
longer.in the mood to go back to that moment during which the magical
effect occurred and start remembering. On top of that, we would proba-
,bly not remember all the details well, since some of them didn't go from
immediate memory into long-term memory. We have missed the remem-
brance phase and, therefore, we haven't experienced the enjoyment
phase. Drama has won and magic has lost.
Thus, as you have seen, the better and more powerful the dramatic
tonflict of the plot is, the more interested we will be in knowing what will
happen (future) and the less we'll be able to enjoy the magic, if we enjoy it
nt all. So I repeat, magic wants us to go back to the past, to reminisce, and
N
it also requires a time, a pause, to let us enjoy the effect. And that' tirn
that pause, is not provided by the drama in the action, with its imperati
Go on! Continue! Continue!
~ A Solution: Magic
A logical (and drastic) solution would be: Let's leave magic alone; leave it
plain and pure! Keep the magic that astonishes us through an unresolved
conflict of the rationally impossible made possible, since this touches
us and fascinates us by resolving (either explicitly or through symbols
metaphor) the conflict of desire, a resolution possible only in dreams but'
which we live while awake in the artistic reality.
I believe this is the wisest road to follow when the magic is good
magic, when the effect is powerful, direct and seems impossible, when it
responds to a wish that is only possible in dreams, when it escapes from
being a riddle, an enigma, a puzzle, and enters the category of a miracle,
a secular miracle. Then, I believe, the additional drama in a plot or story
that rules in theater, novels, movies and any other form of the narrative
arts is unnecessary.
A Parenthesis (Not of Forgetfulness)
Attempting to keep both myself and these meditations on the most prac-
tical plane possible, while avoiding the discussion of technique, I mustn't
forget to point out that everything that has been discussed is, of course,
subject to all sorts of alterations. These are schemes that seek only to illu-
minate for us, to a certain extent, the whys of our art, in order to be able
to put this knowledge into practice. It is nothing but an attempt, then,
place theory in service to practice, extracting the theory first from prac-
tice, then applying the theory to the improvement of practice.
Other Solutions: Balance
It is true that in a few cases magic and dramatic plot can be combined.
And why not? There are no dogmas. Art is free. But this must be done with
great care, without reducing the impact of the magic.
When? In my judgment, when the effect is not that powerful, direct
fascinating, or when the method is not well concealed. I don't mean
~he secret is seen, but that it is susceptible to being suspected through
'tion or analysis. In these two cases, a dramatic plot can add charm
fascination to a weak effect or cover to an endang ere~ method. (Note
parallels in these situations and those I comment on in "Magic and
medy", p. 407, where laughs, also dangerous for magic, can help to
ost a somewhat weak magical effect, if well measured and positioned
the right times.)
Needless to say, to prevent the drama from weakening the magic, or
·ng it disappear altogether, I believe certain conditions of balance
st be met between the magic and the dramatic plot. Let's examine them.
onditions of Balance
the drama, the plot and its conflict are presented and resolved before
trick itself begins, naturally they will not negatively affect the magic.
ey would serve as an introduction or a situational frame in which the
ect will develop.
Thus, Hofzinser, even before he began to take out the deck, tells us of
friend who loved two women and was anxious because he didn't know
ich to marry and which to forget. Some days later his friend informed
·m that he had decided. Before he could tell him his decision, Hofzinser
laimed that he possessed a gift of magically divining it. He named one of
he women, and the friend, amazed, agreed that he was right. Hofzinser
,then proposed to demonstrate his gift to the audience. Each of three spec-
t~tors selected a pair of cards. They remembered one of the two and forgot
e ()ther. Hofzinser, with unfailing accuracy, divined all three cards that
ere remembered. Finally, he visibly transformed the three remembered
ds into the three that were forgotten.
It's a wonderful effect with an ending full of metaphoric power: the
ecovery of what was forgotten, leading to a metamorphosis of memories.
During the procedure of the trick, Hofzinser hardly referred to the
ory of his friend. He presented the demonstration of his gift in the
present, and not as a reenactment of a past event. the trick \v
over, he closed the subject with the following phrase: "Are these the for.;
gotten cards? They are? And how do you know that? What you forget
you don't know anymore." I say the subject, because the little dramatic'
conflict of the introductory story had been resolved long before the trick
started. Hofzinser and his friend knew which lady had been chosen and
that Hofzinser possessed the gift of divination. In other words, the trick is
presented as a verification of the magical part in the story (the magician's
gift); a story and a plot that, by the way, is not presented as fiction but as
something that happened to the magician. is telling us an episode from
his life, not an imagined story.
The same thing happens in the poetic scripts of Slydini. An example is
"Adam's Apple", his presentation of Gene Elmo's "Silk in Apple". In Slydint's
presentation (which has remained unpublished, although an enigmatic
and, to my understanding, somewhat incoherent version has appeared in
Spanish), he tells how Adam ate the apple offered him by Eve, following
a serpent's suggestion to her; a serpent Adam didn't see anywhere and
believed was merely imagined by Eve. But Slydini offers to reveal to the
audience where the serpent hid. Music begins, and Slydini, without speak-
ing, shows and cores an apple, which he then wraps in a napkin and hands
to a spectator. He next shows a small handkerchief that he waves like a ser-
pent. He puts the handkerchief into his fist, makes it disappear, then shows
it hidden inside the apple. Pause. The music stops and Slydini concludes:
"And that's the secret of the serpent and Adam's apple."
As you can see, the story (more or less fictional, depending on beliefs)
doesn't get in the way of the magic. It is simply a presentational fram~ for
the effect that, done without words, barely references the story. It's a trick
with a handkerchief that disappears and reappears inside a cored apple
previously shown empty. The spectators experience it in the present. Only
later, after the pause for assimilation, do they return to the parallels of
magic-plot and reality-fiction.
We have thus seen two approaches to solving the "conflict of conflicts".
In the Hofzinser example, the story, presented as nonfictional, involves
atic situation, which doesn't generate any interest toward the future
ofzinser already told us he got it right) and not dynamic action. 186
But, as we have already discussed, the more dramatic interest a plot-
story generates, the more problems the arrival of the magical feeling
have. This generates a paradox in which we would have tr° manage the
ion and patter for a dramatic story to make its dramatic tnterest weak
her than strong. Little do we care where the serpent hid ,6r which lady
fzinser's friend chose. What truly interests us (and touches us) is how
meone could have the gift of knowing which card was remembered and
w a handkerchief could possibly travel invisibly and wonderfully inside
distant and wrapped apple. And this is not only because the more-or-less
tional story is of little interest in itself, but also because sometimes it
mains a static situation and isn't developed to produce dynamic action.
A second consideration is that the less we are involved in the story
d the more we stay in the present, in the here and now, the better it will
for the feeling of impossibility delivered by the magical effect.
Slydini's story does create an interest in the future: Where did the
rpent hide? But the conflict is resolved by the magical effect: the appear-
ce of the handkerchief inside the apple.
So, through the examples of these two bona fide geniuses of magic, we
can see some of the features that suggest possible solutions to the conflict
» The story tells us something of the real life of the magician ( or of man-
kind), something that happened to him. It is a story represented as
nonfictional.
>> There is no dynamic action in the story. Everything remains in a static
sit\lation.
~ The dramatic conflict of the story is resolved either before the start
of the trick (Hofzinser had already divined the result of his friend's
dilemma) or at the climax of the effect, when the effect itself provides
the resolution (the serpent hid inside the apple).
186. See "Forward and Backward", p. 268, for the concepts of static situation and
2
dynamic dramatic action.
274
Other Solutions
But let's see how other great masters of magic solved this conflict:
Pseudo-fiction
Rene Lavand usually proposed questions or conditions that directl
boosted the conflict between logic and magic and at the same tim:y
increased the drama. In his celebrated rendition of Oil and Water With,
three red cards and three black cards, done with one hand (the left, his
only and magical hand), he repeated, time and again, in a progressively
clearer w~y, the phrase: "It can't be done any slower-or perhaps it can,
perhaps it can be done slower." Every time he recited this, there was
increased interest to see if he could truly do it slower, which is to say,
more clearly, more impossibly, more magically.
Let's also remember his masterpiece: "Three Bread Crumbs", a clas-
sic effect. Rene tossed two bread balls into an empty coffee cup and put
a third into his pocket. That last bread ball then traveled magically to
the cup to join the other two. The effect attained its maximum magical
potential as it was repeated time and again, even when the bread ball
was flicked far away, into the audience. A single phrase was repeated
each time: ''And I always have three crumbs!" Interest accumulated
with the "always", with the fulfilled promise of repeating the effect again
and again to our amazement, which turned into genuine astonishment at
the incessant miracle. 187
There is no story or fiction here, and no drama other than the authen-
tic magical conflict of I am witnessing something that cannot possibly
exist, but it does exist. Only when the trick was almost finished did Rene
recite a poem by Li Po, which gave the three bread balls a metaphoric
significance-the moon, the poet and his shadow-capping things off
with the magical disappearance of the three bread balls from the cup
187. By the way, it could be understood that this trick changes its magical effect
halfway through its performance, given that it starts as a translocation of a
bread ball and ends as an inexhaustible appearance of new ones since the
' ;:epeated it in front of the spectators in the present.
balls that are flicked into the audience remain there. At the end, the three balls
disappear. But were there ever any balls? A poetic dream? A fading reality?
275
}Jeautiful synchronicity with the end of the poem: ''And my shadow
,,188
ws me.
The conflict of conflicts is not rais.ed here at any time, since there is no
emal dramatic conflict or fictional story. Rene narrated in the present
at was happening. Plain and simple. And the magical sm;prise of the final
I
pearance was so powerful, after the three bread balls/ had gathered so
y times, that the metaphor of the ending worked as a qelicate invitation
a poetic universe that didn't pose any kind of conflict. ,The slight fiction
oposed (bread balls as the moon, the poet and his shadow) was experi-
ced after feeling the disappearance as music in words and poetic images.
True Story Brought to the Present
· e we are talking of geniuses, Dai Vernon, the Professor, had clear
inions on the subject under discussion (as he did on other magical and
e non-magical subjects, such as his rare and admirable lack of con-
m for money matters in real life).
One of his masterpieces is "Triumph", one of the best, if not the best,
d tricks of all time, due to its beauty, its apparent simplicity, the direct-
s of its effect(s), the wonderful cleverness of its method (a multiple
nger!) and, above all, its enormous symbolic power: harmony from
aos, individualization, triumph and glory.
In it, Vernon told us (like his idol, Hofzinser) about something he appar-
ently experienced days before. After having shuffled a selected card into the
deck, a drunken man had mixed the cards face up and face down. ''How could
ffind the selected card, lost among the others, in that chaos of the deck?"
Since Vernon was illustrating a past event through matching actions in the
})resent, the conflict of the story in the past became a conflict of the actions in
the,present. How could he find the card in the current mess and chaos? And
Yemon solved it-with magic! All the cards magically turned face down and
among the backs appeared a single, triumphant, face-up card, the selection.
The magic had then acted in the present. Although the story was narrated as
having happened in the past, as something experienced by the magician, he
188. See Magic from the Soul, 1993, Magic Words: Pasadena, p. 216.
 It is my opinion that this trick can have the same impact (or more
magically speaking, if the story is omitted, because of the enormo
symbolic power of the effect, which takes it to the peak of an artisf
Olympus: triumph over chaos. The dramatically lost card represents th
spectator who selected it, who in tum acts as a representative for t
group. It clearly symbolizes the possibility of our triumph over chaos, no
matter how lost we are, or how confusing, dramatic and impossible it ma
. r
be to overcome the situation, or life itself. Isn't that a joyous sensation
that fills us with true delight and a marvelous, vital energy?
Weak Magic, Strong Fiction
But Professor Vernon showed us once again the other side of the prob-
lem, with his "Cutting the Aces". Here a fictional one-armed gambler offers
to show the magician his ability to cut the deck with one hand, finding
an Ace with each cut, after the magician has lost the Aces in the deck
Again, the narration involves something that happened between the magi-
cian and an antagonist. But in this case the story contains strong dramatic
conflict (a challenge) and the static situation changes to dynamic action.
The magician gradually increases the difficulty for the gambler to find the
Aces, and the gambler seems to fail to cut to the fourth Ace; but this is not
really a failure, because the gambler shows that he has executed an even
more difficult control of the Ace. A new conflict arises when the magician
attempts to win the bet by sneakily switching the Ace for another card and
hiding the Ace under his palm on the table. The gambler pulls out a knife
and stabs its point between the magician's fingers, pinning the palmed
Ace to the table. The gambler's final statement is magnificent: "I palmed
a card once too often, and I wasn't as lucky as you-I didn't have· my
fingers separated. That's how I lost my arm."
Here the story does pull us forward continuously. But the magical
effect of this marvelous trick is almost negligible! Vernon knew this and
expressed it on various occasions. Since the magician himself loses sev-
eral cards in the deck and later cuts to them, this is simply a demonstration
of skill, not of something impossible. That's why it doesn't matter here
if the drama overrides the magic, because the magic is minimal. Vernon
recommended that you never even consider presenting this effect
out the story, because nothing would be left.
on·Magical Objective
ethlng different occurs in Clayton Rawson's version of a 1divination by
spectators, when they shout out in unison the name of a/card selected
I
one of them that has not been shown to anyone. I am referring to his
elous, surrealistic presentation using an eggbeater as a nransmitter of
epathic-mental waves". The magician secretly shows a jumbo card to the
dience. It has the same identity as a card selected by an assisting spectator.
en everyone shouts the name of the selected card in unison, the surprise,
nfusion and puzzlement of the spectator produce great laughs and joy in
e audience. The objective here is not the magical effect. No one wonders
w the magician discovered the identity of the chosen card. Rather, the
al is the comic effect of the spectator's perplexity, who has been kindly
·eked by the magician, in collusion with the rest of the spectators who are
ansformed into "psychic magicians". Aside from the enormous entertain-
ent value of the situation, there is the shared fun of returning to childhood,
oup bonding, the union of audience and magician (playing on the same
team" in the joke), collective catharsis and endless joy.
It's a case of voluntarily choosing a sought-after sensation Goy), even
ough the sensation of magic diminishes. I present it toward the end of
my show, without caring about the loss, since the spectators have already
experienced some powerful and wonderful magic (I hope).
.Another example: When I added a story of centaurs and sirens to a pow-
erful card routine I was doing, even going so far as to use drawings on the
cards instead of playing cards, I realized the impossibility of the magic was
Somewhat lessened, but the trick gained in poetic fascination and in the
expression of my lyrical side, an aspect of my personality not usually shown in
my repertoire. If I had to do just one trick in a session, I wouldn't choose "Los
189
Centauros"; but as an expressive complement, it serves me wonderfully.
189. By the way, the comments the spectators make to me after this trick are
along the lines of "How beautiful," while the ones they used to make after the
original version with regular playing cards were more like "How incredible!"
 Two new elements for our analysis appear here. effect is weak or
if impossibility is not the primary objective of the trick, the dramatic plot
can and should be intense, powerful and fascinating.
Bal(lnce
But we still must deal with what I believe to be the most difficult thing:
achieving balance between drama and magic when both are interesting.
Luc.kily, we have two more geniuses left: Fu Mahchu (David Bamberg)
and Cardini. Let's begin with Fu Manchu, the greatest stage magician I
have ever seen. (Vernon shared that opinion.)
Fu Manchu displayed an exquisite ability to achieve the desired bal-
ance. Let's look in some detail at one of his masterpieces: "The Death
Chair". In the middle of the development of this theatrical show, a great
success with audiences and critics, there is a terrible accident. The lights
go out in the theater, leaving everyone in darkness, there is a gunshot
and a scream, the lights come on again and a spectator in the second row
stands up. Staggering a bit, he leaves the room.
Before the frightened spectators can begin to leave, a police detective
bursts into the theater with some of his officers. He commands everyone
to stay in their seats and summons Fu Manchu to reproduce the circum-
stances under which the crime occurred. The detective discloses that the
spectator has died in the theater lobby. The audience immediately under-
stands that the whole thing is a fiction, a sort of joke.
The last tricks performed are reviewed. Among them is the appear-
ance in the dark of two fluorescent skeletons thatfly over the heads of the
spectators. The script requires some new tricks to be performed. These
are intertwined with some very amusing verbal exchanges betwe~n the
detective, Fu Manchu and his assistants. There is a Lota Bowl routine
(inexhaustible water from a jar), the disappearance of two ducks that
have been bothering the detective, an escape by Fu Manchu when he is
handcuffed by the police, a death trap Fu Manchu is forced to enter, but
the detective instead ends up caught in it. Once the murder mystery is
solved, the sequence ends with the production of a live duck from the
detective's jacket.
But in this (I'll repeat) masterpiece of Fu Manchu we observe certain
a,i:acteristics, some already commented on, that allow the magic to pro-
ce its full impact. One is that the story is not utter fiction. It's something
t happens in the experienced development of the show, something only
utwardly real, something the attitudes of the participant~ and the tone of
e dialogue make us see ·and feel as a playful joke, never expected to be
lieved. In other words, the story of the police enquiries.into the crime is
ot narrated but is lived in the present by the spectators: "totally" real-
ut not quite! It's ,a theatrical presentation played within a context of the
audience's reality. We will return to this point with other examples from
Fu's repertoire and those of other magicians.
Second, note that the actors, except those in the roles of policemen,
play themselves. Fu plays Fu; his assistants play themselves; even the
audience plays itself, as spectators of the show. Fu wisely talks to them at
some point, recognizing their presence and making it evident; there is no
fourth wall.
A third aspect to note: The tricks presented during the development
of the plot (of the "joke") are just that; magic tricks performed by Fu .
.And the policeman and Fu always refer to them as tricks from Fu's show.
Pure reality.
What happens, then, to the general conflict of the dramatic plot: Who
killed the spectator and why? Fu dealt with the subject in the style of
what Hitchcock called a McGuffin: a plotted theme of no true importance,
but solved at the end of the joke with very clever surprises related to
the tricks performed. The interest in knowing the who and the what was
continuously dissolved in the enormous number of amusing lines and
feigned situations. With all this, Fu managed to make the spectators take
everything as it really was: a joke used to motivate the development of
magical effects presented (not re-presented) by people playing characters
(themselves) in a real situation that was recognized from the beginning
as a joke. In fact, when the spectators entered the theater, they saw an
armchair in the lobby, identical to those in the theater, in which slumped
bloody mannequin dressed identically to the spectator who would later
N
be "murdered". Despite all this, they still felt a momentary shock dun
the blackout, the scream and the shot. 190
But let's look in more detail into the aspect of the solution commente
on earlier, attitude (something, by the way, essential in every magic
presentation).
I am referring to the attitude assumed by the magician during the
development of the trick, especially when he chooses to play a character
or dramatize a situation, producing dramatic action. If the conflict of the
dramatic plot is powerful or interesting in itself, we will be watching a bat-
tle waged against the magical effect, with the drama having an advantage.
But if our attitude while we play at "representing" is one of stepping out
of character by making comments addressed directly to the spectators
(breaking the fourth wall), winking in complicity as if telling them Don't
believe this, I'm just playing, the spectators will lose sight of the repre-
sentation, becoming conscious of their situation as spectators, and the
drama loses impact. Dramatic interest is reduced and the fight among the
conflicts is balanced or even falls on the side of magic. Thus, magic ends
up winning. It is not easy to achieve this balance, to soften the conflict of
the dramatic plot without making it a little silly (better to eliminate it) or
into a childish story (which is not the same as a beautiful story for chil-
dren). How to get that balance is, as always, a question of artistic intuition
and sensitivity, of experience and testing in front of audiences.
But digging deeper into the subject, let's look at more possibilities.
Another way to prevent the magic from becoming weaker is by creat-
ing a weak dramatic situation, in this case a theatrical one, character
and all, and keep it frozen, static, without altering the circumstances of
the conflict or making it moribund. Some ironic humor can also be used
190. I experienced it firsthand. I attended a different show by Fu in Madrid. I was
I
only thirteen, but I preseive it clearly in my memory. I vividly remember how
scared I was when, in the middle of a magic show, a spectator in a box in the
second balcony was heard having a heated argument. Then we heard a scream
and a woman fell into the void, actually onto us poor spectators. However, the
collective horror quickly turned into laughs. The woman was a cloth dummy.
1 ~:1~,fd·-n,..,... ...,.,......J ironic). The magician invents a character who, in a way
~tc:
ent to the spectators, is playfully pretending, without believing it,
out expecting the.spectators to believe it, with continuous winks and
ping out of character at times. Cardini proposed a clear example of a
atrical situation: a tipsy gentleman who watches how objects play with
(cards, cigarettes, balls), arousing his repeated surprise. There is no
elopment of the situation, it doesn't enter into dynamic action and,
ause of that, it doesn't lose interest. No one asks, "What will happen?
w will it end?" On top of that, we all know that the magician is responsi-
for the appearances of the objects, but he's playing at pretending to be
rised himself. In this way, the conflict of the dramatic plot becomes
weak, almost nonexistent, and gives free rein to the enjoyment of
e astonishment caused by the impossible and continuous production of
bjects, in the extremely beautiful and artistic presence of magic.
Fu, in "The Chinese Bazaar", another of his masterpieces, utilized the
chnique of a theatrical situation full of finely tuned surrealistic humor
'th a repeated breaking of character. Fu is the owner of the bazaar. A client
·ves and asks, "Do you have those handkerchiefs that change from red to
een?" as he performs just that with a handkerchief. Fu answers, "No, we
y have a handkerchief that changes from green to yellow," and he demon-
atrates. "I like that one," says the client. Fu says, "Well, we don't have it."
The whole dialog proceeds like this, with a variety of magical effects inter-
.laced with magical running gags (such as the production of bottles from
the client's hat), and non-magical gags ("Remove your foot from the stool":
the client has absentmindedly put his foot repeatedly on a newly painted
stool in the bazaar). The routine ends with the client making a telepathic
divirnltion of cards while he's sitting on a chair in the middle of the stage
covered by a cloth. When the doth is removed the client has disappeared
de Kolta Chair), and Fu asks himself, "How could he know the cards I
showing?" Now sitting in the audience, the client yells, "Because I have
sitting here the whole time and I saw everything."
I experienced the absolute magic of this sketch in May 1956,. when I
only thirteen. I watched it on two consecutive days. What more could
N
one hope to achieve as a magician? I know how or why I continue
to live.
Overcoming modesty, which always produces a certain awkward-
ness in me, I will cite myself as an example. In "Tahuromagia", a series of
twelve sketches or short, scripted dramas that I presented with the
.
belovedI
admired and departed Pepe Carrol, there were plots with a certain dramatic
interest: wagers on a game of poker between us, how.to cut to winning cards
and other challenges. We also played characters: Pepe as a serious, distant,
elegant and very skillful gambler; me as a sloppy, somewhat ludicrous gam-
bler and a bit of a joker. But the key was that I was acting as myself. That's
how I am in life, especially in a situation of intimacy and familiarity that
overcomes my shyness. Pepe's personality also closely resembled his per-
forming character. We built two characters that simply exaggerated and
caricatured our true personalities. We also maintained a direct and continu-
ous relationship with the spectators that is common in close-up magic. We
talked to them, they took part in the effects, etc.
Another key was that the scripted, static situations became dynamic
ones, but the actions occurred in the present; two gamblers who inter-
acted for a real audience, and an audience that became involved in the
action. There was little fiction. The final key was that we constantly
escaped the scripted situation and our characters (devaluating and min-
imizing almost to zero the "re" of representation) through asides to the
audience and comments between us ("This was not in the script, Pepe."
Laughter and winks between us). All in all, it was a pretense of Pepe and
Juan playing at being gamblers. Practice showed us, I want to believe, that
the magic didn't lose any of its impact. (With a magician of Pepe's quality,
this was easy.)
I'll tell you a secret: When I conceived the scripts for these gambling
sketches, I took great care that the dramatic situation was as weak as pos-
sible, without falling into scripted silliness. But at times, while rehearsing
with Pepe, his wit produced a good idea for the plot, an idea that was
forceful, timely and dramatically powerful. My comment was often:
"Magnificent idea, Pepe. But in my judgment, it's too good, dramatically
aking, and therefore dangerous for the magic." And we almost always
eed not to use it (not without tremendous regret for Pepe-and me).
1~11 dose this discussion with a re_cap of the solutions we have seen:
mation of Solutions to the Conflict of Conflicts
I
Very powerful and wonderful magic presented witho111t an external
plot or story. Sheer, pure magic. A triumph of the magi<;al art.
A weak dramatic plot, real, in the present,Hved by the magician. No
strong fiction is proposed. A real situation that develops in the pres-
ent, in the her~ and now, with the magician in the main role or as a
witness (Hofzinser: "Remember and Forget").
The dramatic conflict, weak or strong, is resolved before the trick
begins (again, Hofzinser's "Remember and Forget"). This variation
consists of the magician demonstrating or illustrating a gift in the
present, as a consequence of the story narrated and finished.
The dramatic conflict is resolved with and by the magic. In other
words, the magical climax, the magical effect, solves the conflict of
the dramatic situation. In some cases, the dramatic situation, narrated
as something having happened in the past, is repeated with actions
(Slydini: "Adam's Apple"; Vernon: "Triumph"). In other cases, a dra-
matic situation is simulated in the present (the Tom and Restored
Handkerchief, tom by accident and eventually restored-the res-
toration, the magical effect, doesn't solve the dramatic conflict by
representing it but by presenting it as real).
The dramatic conflict is virtually nonexistent. It is a self-imposed
challenge or a rhetorical question about the conditions of the mag-
iC'al effect (Rene Lavand: "It can't be done any slower") or about its
causes (Rene Lavand again: "Why do the colors alternate?"), or it is a
simple reiteration of the effect (always Rene: "And I always have three
breadcrumbs!").
The final objective is not impossible magic-the story is allowed to win
(Dai Vernon: "Cutting the Aces"); or there are comedy or other artistic
objectives (Clayton Rawson: "The Little Wonder Thought Projector").
7. o:aJlanc:e: a with very weak drama or a McGuffin (
Manchu: "The Death Chair") or a more or less powerful dramatic co
flict weakened by attitude, good humor and irony (Cardini's act.
."The Chinese Bazaar". Tamariz and Carrol: "Tahuromagia").
Of course, there must be other ways to achieve this balance, which th
artistic intuition and
.
creativity of magicians have shown us and will ShO
us in the future of this, our inexhaustible art of magic.
·May it be so!

TlME

Rhythm

·me: Some Generalities and a Definition

hythm is usually defined as "order and proportion in time". Its founda-

·on is possibly biological. Vital acts and processes are subject to an inner,
ythmical process: the rhythm of breathing, of the heartbeat (from the
fetus that hears the rhythm of the maternal heart), laughter (ha, ha, ha; it's
impossible to laugh with a continuous sound), etc. And there are the nat-
ural rhythms, the rhythms of nature: the four seasons, day and night, the
· lunar cycles, the tide .... In a certain sense, it could be said that rhythm is
life. Without rhythm, one would be a lifeless being, a flat encephalogram.
Rhythm can be objective or subjective.

Objective Rhythm and Subjective Rhythm

Objective rhythm: subject to mathematical rules. It is physically measur-
able; for example, by clapping the hands every two seconds.
Subjective rhythm: the one we experience internally. Its perception
varies. It is psychological. This subjective psychological rhythm is the
N
most important for us as artists, because the perception of artistic e:xpr
sion depends on it.
Control of the spectators' sense of the rhythm of a performance, wh
possible, enables us to attempt to achieve the appropriate and desire
expression of our magic.
Rhythm and Artistic Expression
Rhythm is different from time and timing. It is also different from speed.
However, I will sometimes refer to a fast or a slow rhythm.
Rhythm provides relief. It marks the expression of the action. At the
same time, rhythm in itself is expressive. A slow rhythm produces a sensa'"
tion of seriousness, poise and weightiness. A fast rhythm gives a feeling of
joy, liveliness and lightness. An increasingly fast rhythm, in crescendo, pro-
duces excitement. And an increasingly slow rhythm produces a sensation
of rest and peace.
Strong Beats and Weak Beats (a Prelude)
As we all know, rhythm is based on the periodic repetition of downbeats
and upbeats, highs and lows. These downbeats and upbeats have a spe-
cific and an utmost importance in magic.
The great master Slydini based all his marvelous and powerful meth-
ods on the study and management of these downbeats and upbeats. This
is a superb method, which I strongly recommend studying, even if it's
tiresome and by no means easy. (Luckily, easy tends to be the opposite
of art.) It is incredibly practical for all types of magic: close-up, stage,
manipulation, etc. But we will defer the study and analysis of the subject
of downbeats and upbeats in magic for a little while.
Rhythm in an Artistic Performance
The voice, the pacing of words, the silences and the cadence of hand and
finger movements, of gestures, are some of the elements that shape the
rhythm of a trick or session.
Different styles of magic correspond to different ways of understand-
ing rhythm and to different personalities, performance styles, manners of
ssion, ways of understanding the art of magic and, quite possibly,
nt world-views. Let's look at some examples of magicians, past and
~t, with very different rhythmic styles.
d rhythm, broken at times, with long and dramatic P<}Uses that end
a sudden acceleration of the final rhythm, interrupted in turn by
dden cut: climax and full pause. There were alternated moments
nsion and relaxation that kept the spectators alert and ended with
al blow of the impossible-impossible-impossible. His actions and
tures had a great musicality. In his patter, the last syllable in phrases
eat downbeats (moments of tension in the body, eyes and attitude).
otal relaxation followed immediately (upbeat), which was used for
cuting the trickery (loading, lapping or any other secret technique).
en came a culminating downbeat to underline the effect. A highly dra-
tic style.
nervous and very lively rhythm. Continuous unexpected things that
rise even him, the magician, who turns his head toward the wings
if confused, seeking help. Fast hand movements. Joy. Dynamism. Few
auses. Short tricks. A style of great liveliness.
oised and calm rhythm. Relaxed pauses. Tranquil pace. Natural and
tnooth gestures. Cadence held almost without variation; harmony,
beauty, coordination. A ballet of the hands that made playing, cards float
Md almost dance to a waltz rhythm. Tricks or routines with several effects
t;tatu¥tlly linked. Expository clarity. A style to enjoy.
inn
ery slow and calm. Movements almost in slow motion. Creation of a very
mysterious and magical atmosphere. It feels as if a certain power or magic
:fluid emanates from his hands. That's why he moves them so slowly. Magical
~fleets that are sustained in time: floating a ball, a tie that is transformed
mto a cobra, soap bubbles that materialize, etc. A poetic style.
N
There is a broad variety of other rhythmic styles: from the rampant Ott
Wessely-moving quickly, almost running, constantly around the sta
without stopping, from side to side, forward and backward, producing
sensation of near madness-to the theatrical Rene Lavand, using long and
dramatic pauses; from the lively Gustavo Lorgia and his sister Consuelo-
whose rhythm is full of little sprints and sudden st9ps, almost like a dance
that produce joy and a Latin American mood-to the forceful Shimada-'
who combines static and very expressive poses with brisk, unexpected
motions to go from one pose to another, much in a martial-arts style;
from the classic, dancing, Astairean movements of James Dimmare to the
slow and elegant actions of Salvano; from the apparently confused and
arrhythmical Lennart Green-whose magic emerges as wonderful and
very visual-to the precise and intellectual Max Maven-whose rhythm is
broken and composed of exact, ascetic movements accompanied by brief
and articulate phrases, punctuated by short pauses.
The correct rhythm, the rhythmic style that better suits a trick and
its performer, is an essential element in the spectators' perception of the
magician. It is not just the way he moves and gestures, or the speed of
those gestures. It is also the expression of his personality through rhythm.
I think this is what it's all about. 191
The Rhythm in Magic
Rhythm has some specific characteristics when it is applied to the art of
magic. There are certain secret techniques that require a faster or slower
speed for us to execute them successfully. For example, sometimes we
need slower gestures and movements to provide enough time to execute
191. A good way to learn to manage timing and pauses is by studying the fine come-
dians of film and television, from Keaton and Chaplin onward. For Spanish
speakers, the great Gila is imperative to see and listen to. (Adapt the exam-
ples, dear reader, to your own time and country.) Keep in mind that laughter
is sometimes produced by simply generating tension, followed by a sudden
relaxation. See the section on "Magic and Comedy" in Chapter 8, p. 407.
d or to exchange a person covered with a cloth (as in the Asrah
' .
ion, in which someone lying on a couch is switched for a wire-form
my). The Top Change with cards_ is another case. A certain speed is
essal'Y to cover the secret manual technique.
Sometimes you need to reduce speed for the executio~ of certain false
I
ts that require a complex digital technique; the ted/mical difficulty
• I
es us slow down a certain action. For example, in the) Elmsley Count,
hing over the second card is actually a double push-off. This can make
slow the rhythm of the count without our being aware of it, after which
recover the initial pace. As a result, the four cards are counted with a
ange and possibly suspicious change in pace. We will later analyze this
ample further.
It can be easily seen that, if such changes in rhythm occur from time
time, the performance will not have an established rhythm. There will
a sensation of unwanted arrhythmia, a lack of the necessary artistic
ony. 192 So it is helpful to study technical requirements and adapt the
neral rhythm to them. Let's look at some resources to help us maintain
constant rhythm during a trick or even a whole session of magic.
The music that accompanies a stage magic act helps maintain the
vhythm or a sensation of continuing rhythm. The music gives outward
tnotivation to certain gestural variations, actions that are slightly faster
or slower at given moments, wrapping them into its general rhythm. It
also helps the performer to avoid getting carried away by fluctuations in
his present mood-unless he prefers exactly that: to communicate and
express himself through his passing mood. And it helps to. recover the
rhythm when unforeseen circumstances disrupt it (a handkerchief falls to
the,tl.oor, the rabbit refuses to curl tightly and get into the box, etc.). The
music carries the magician on its rhythmic wings, forcing him to follow
the rhythm, or to recover it; for the benefit of the harmony of the whole
performance. Because of all this, stage magic performed to music is more
192. But let's look at yet another example, to illustrate there are exceptions to every
rule in art: Ascanio had a version of the Hamman Count in which he used cer-
tain precise changes of rhythm to cover the secret action. And it also works!
 290
easily executed to an established rhythm, and is therefore perceived as,
more harmonic, agreeable and pleasant.
But what happens with spoken parlor magic and, above all, With
close-up magic, in which interaction with the spectators and their unfore-
seen reactions-sometimes in the form of interruptions-are part of the
"sauce" of this specific and wonderful artistic form? To respond to that, I
first need to explain what is, in my judgment, the essence of this art: the
extremely powerful magical emotion produced by close-up magic.
For me, close-up magic, generally speaking, is an eruption of art into
life, of the magical, the impossible wish, into everyday life. It's not so
much a show (though partly it is, of course) as it is a unique experience.
That's why most of the time it is performed-and I think it should be-
with everyday objects, objects the spect-actors are familiar with or have
in their homes, such as playing cards, coins, banknotes, cigarettes, safety
pins, thread, dice (sometimes these items are even borrowed from the
spectators). Use of such mundane objects produces a maximum magical
effect. Decorated boxes, fancy chips, etc. diminish artistic credibility and
weaken the sensation of attending a demonstration of the power of magic
in everyday life (an artistic demonstration, not a fraudulent one).
Keeping that in mind, we can return to the subject of rhythm. In every-
day life, there is usually no preconceived or studied rhythm. Consequently,
there is no need for a strict rhythm in a magic session as a whole, but there
is within individual effects. There, the magician can and should control
the rhythm of his speech and actions. That control is more difficult than it
is in a stage performance, since the situation includes the unplanned but
desirable comments made by spectators (part of the greatness of this type
of magic). That interaction increases the difficulty of keeping the rhythm
in control, during the procedure of the trick. You also lack an external
rhythmic aid to ke('.?p you on track, such as music provides in stage magic.
An Aid for Rhythm and Magic: the Metronome
It was quite a few years ago that I discovered something that, at least for
me, was a good aid to keeping rhythm. It's the most obvious tool, the one
291
by all the artists who need a rhythmic aid: the metronome, which
se days can be obtained in its classic mechanical form or as a smart-
one app. 0
I started using a metronome in the 1970s, in rehearsals (not in perfor-
ces, of ~ourse) of my close-up tricks, and found it t? be a good aid.
e explained it in several lectures for magicians and, sin~e it might be of
e to you, I'll describe it here.
The first instance where it proved itself very useful was in solving
e problem I mentioned earlier regarding the Elmsley Count: keeping a
ady rhythm. L~t's explore that problem in greater detail. The Elmsley
unt (invented by Alex Elmsley, the great creative genius) begins by
nsferring one of four cards from the left hand to the right hand. Then
0 cards are transferred to the right hand as if they were one, while the
d previously transferred is secretly returned to the left hand, under the
d that remains there. This is the secret technical moment that creates a
rtain difficulty in coordination, since both hands perform secret actions
the same time: The left thumb pushes two cards over together, the right
gers take them while simultaneously unloading the card they are hold-
g, putting it under the one remaining in the left hand, which must take
lt without betraying motion. Then, after this difficult part is done, the last
two cards are transferred singly from the left hand into the right hand.
Because of all this, there is a general tendency to transfer the first
card (a regular action without anything concealed) at a certain speed, and
then to slow down when counting the next one (a double), since we need
more time to perform all the secret actions just mentioned. Then the pace
is picked up while transferring the third card and the fourth normally.
The,,result is usually: one ... twoooooo ... three, four. This arrhythmia could
arouse suspicion and call unwanted attention to the transfer of the second
card. Nothing is further from the objective of the magician, who doesn't
want people to observe that moment or to pay much attention to it.
When I set the metronome at a slow speed and practiced the count, I
gradually began to see and feel the appropriate speed at which the count
:flowed with a regular rhythm, one during which I didn't need to slow down
N
on second card; a comfortable rhythm that also made it easy for me
execute the secret techniques. I internalized the rhythm-that tick, to
tick, tock-and when I performed, I felt it, and the Elmsley Count bee
clearer, more rhythmic and relaxed. The same happened when I app}i
the metronome technique to the Hamman Count and the Buckle Coun
I then started using the metronome for complete tricks and this pr
vided several welcome surprises. But let's not go too fast. The first thin
to· do is to decide what rhythm or speed seems appropriate for the tric
and its actions. Let's say we are dealing with a trick that isn't comple
meaning that it doesn't consist of several effects or phases; it's a trick Wit
a direct and simple effect.
Three Practical Examples:
First Example
I will start with a classic version of Coins Across, because it was when I
studied and practiced this trick with a metronome that I got the interest-
ing surprise I mentioned above.
I will first describe the version of the trick I was doing. Three coins
are laid in a row near the table edge closest to the magician and toward
the right. Another coin is also near the edge, but on the left. An extra
coin is palmed in the left hand. The left hand picks up the coin on the
left and closes (with two coins inside). The right hand picks up the three
remaining coins, one by one, and likewise closes. Following a magical
gesture, both hands are opened palm down, dropping their coins onto the
table-except for one, which is retained in right-hand classic palm. The
coins drop to their corresponding sides, two coins on the left and two on
the right.
The right hand now moves to the left side of the table and with its
fingers draws the two coins on that side, one by one, over the table
and into the waiting left hand. Upon drawing the second coin into the left
hand, though, the right hand also drops its palmed coin, so that there are
now three coins in the left hand, which closes into a fist. After a magical
gesture, both hands are opened. Three coins fall from the left hand and
one from the right (the other one remains palmed).
is process is repeated to cause the fourth coin to pass, except that,
picking up the fourth coin, the right fingers propel it into the lap and
right hand forms an empty fist. Four coins then fall from the left hand n
the right hand is shown empty. Note that the right hand opens first
time, followed by the left. ,
But we could decide to perform this trick in different fvays by altering
y the rhythm. Let's begin with a slow rhythm. For tha~ we set the met-
me to sixty beats per minute. ,
We put the coins into our pocket or a coin purse, and we activate the
ronome: tick, tock, tick, tock. We now start trying to match the pat-
to the slow speed. If you have just performed a faster trick, you can,
·ng the pause for assimilation in that trick, begin to talk and move grad-
y more slowly, until you reach the speed marked by the metronome. I
k it's important for the whole trick to have that harmony rather than
ing the trick at a high speed and then switching abruptly.to a slower
,thm. I believe it's important to change the rhythm during the transition
m one trick to the next. By doing so, we begin the trick while trying to
ep that speed, that rhythm, and adapting everything to it: patter, ges-
es, actions .... Thus we will find a rhythm and speed that give the trick
nsiderable artistic uniformity and harmony, and this will probably be
predated by the spectators.
We will internalize that rhythm and speed every time we rehearse it
Mth a metronome. When we then perform the trick in front of an audi-
ence, we will not need to think of the rhythm. It will come aut~matically to
11s. We will have it in us, associated with the trick; and the patter, gestures
and attitudes will fall into place naturally. Even if the possible comments
pf the spectators-whether required by the magician or spontaneous-
break the rhythm, we will be able, almost without trying, to recover it by
following our interiorized tick-tock-tick-tock and can finish the trick at
the proper rhythm (or with an accelerated or delayed ending, as taste dic-
tates). In any case, the trick will gain beauty, harmony and magical quality.
But what if we feel the trick is not suited to a slow rhythm? Then we
can set the metronome to a faster speed while we rehearse, and then try
again with another speed and another until we feel we can dance, to b
the dancing partner of that trick, to the rhythm of fascinating magic.
But also-it's coming, it's already here ...
A fascinating surprise: I found that, rehearsing the same trick at ave
different speed (going, for example, from sixty to 140 beats, much faste
something unexpected, surprising, almost incredible happened: The effect
of the trick changed.
· Let's see how. When you do Coins Across slower and, each time, you,
make a magical gesture before opening your right hand and then your
left, the effect becomes one of a coin disappearing from the right hand
and reappearing in the left. The disappearance is felt. Its impossibility is
appreciated. It is savored. Then the appearance or reappearance is felt.
When the coin disappears we feel, as spectators, a certain suspension
of mood, even a certain anxiety: disappearance, symbol of the void and
death. 193 When it reappears, we fill that void, we sense a feeling of resur-
rection and we relax. That periodic and rhythmic alternation of emotions
accompanies the temporary development of the trick, giving it a kind of
emotional and artistic respiration, and the trick lives.
On the other hand, if you set the metronome to a much higher speed
and both hands are opened at the same time whenever a coin is shown to
have gone across, the coins are perceived to travel instantly and miracu-
lously: nothing disappears and nothing appears. Nor does the alternation
of emotions occur: suspended mood, anxiety, relaxation. Instead, there is
a rhythmical rosary of visuals surprises, of magical flashes that lead us,
through the speed of the repetitions, to a state of growing excitement.
In the first case we have: Did it disappear?!... It appeared. Dis-
appeared?... Appeared .... The equivalent of inhale-exhale-inhale-exhale ... ,
or tensiop-relaxation-tension-relaxation ....
In the seconq case we have: It passed! ... it passed! ... and it passed!
This is equivalent to holding your breath and, only at the end, after the cli-
max, releasing it and taking a rest. In other words: tension-tension-tension
and a great, final relaxation. Try it yourself.
193. See "Magic and Symbolism" in Chapter 3, p. 71.
such a change or variation of the rhythm, of course, perceived in different
because of the change in speed and rhythm of the performance alone,
'ens in very few tricks. What does J:i.appen often, especially in repetitive
· that the change of rhythm in execution also produces a change in
ts, IS
·ons felt by the spectators. Let's look at that in mor~ detail.
emoti :
ndExample
take as our second example the extremely cleve.r trick Six-Card
eat, which I have used to open my stage shows, with improved ver-
s (I hope), for over fifty years. (My gratitude to its' creator, Tommy
ker, is eternal.) In this trick, I usually vary my speed in counting the
cards for each performance. Some days I count them and throw them
the air with a very lively and rapid rhythm. Other days, I do it with a
ain calmness. On still other occasions, I increase the speed gradually,
·ng each count faster than the previous one. And sometimes I make
h count slower. Occasionally, I decide to put pauses between counts.
etimes I don't, etc.
This is how I prevent the presentation of the trick from becoming
ed or automatic, also adding variations in patter, which I attempt to
., at least slightly, in each performance. This way, the trick, despite my
:vi.ng performed it thousands of times, remains fresh and alive in each
ormance, because I also feel what the spectators feel. I'm in reso-
ance with them. Therefore, some emotions change from performance to
rformance, despite the effect being the same, and the method, and the
ist. So, on some occasions the spectators applaud with equal fervor at
ch repetition of the effect of the inexhaustible six cards. At other times
e applause increases in intensity after each repetition, even reaching a
rt of final fever pitch. And sometimes applause is cut off by the irrime-
acy of the repetition and is held back until it is unleashed in the final
·max: "There are six, seven, eight, nine-ten cards!" which are thrown
to the air!
A difference in effect also happens when the rhythm of the presen-
tion of Six-Card Repeat changes. If it's presented to a brisk tempo,
'thout pauses between its phases, it will seem to be an inexhaustible
N

multiplication of cards, a continuous surprise. If it's presented witfrbre count of four cards with gradually longer phrases that are said
and pauses between the phases, it feels like a phenomenon of going b ssively faster to make them fit four-card counts of the same time
in time, of returning to the initial situation (six cards), an eternal cy 'on, a sensation of gradually incr~asing speed in the counting is ere-
This acceleration, added to the continuing magical smack of the
Third example
ance of more and more and more new faces and: backs-there
Another aspect to consider is how to accelerate the subjective rhyth
urteen changes, fourteen magical effects in only a Il}inute's time-
the one perceived by the spectators, when the hands' actions at a giv
s you to achieve a state of explosive excitement in bo~h the magician
point in the trick can no longer allow acceleration of what we could c
he spectators, and a sensation of almost endless changes, which is to
the physical rhythm. That's what happens in the marvelous "My D ·
of true hallucination.
Trick" by Oliver MacKenzie, which I use as a closer in many sessio
1'hat's how spectators later express it when, still not recovered, still
of close-up magic. (It has also been one of the best-remembered tric
d by the effect experienced, astonished but happy, they comment,
from my many performances on television in several countries.) In brie
make us see what you want us to see! You make us see visions! We
four blue-backed cards are shown. The cards turn face up one by one
cinate." Those phrases, when addressed to a magical artist, are, as I
They then transform into four different cards; for example, from Aces t
rstand it, a partial but beautiful definition of our art.
Kings. Finally, their backs change color again and again, and each car
ut let's go back to analyzing the extremely important issue of strong
changes more than once. Although six different backs are seen, the
and weak beats.
look like a thousand! 194
In doing this trick, I came to understand that the rhythm was essenti ong Beats and Weak Beats in Magic
for its full success. I wanted to do it faster and faster, leading to an accel-"
· g agreed that there are strong beats and weak beats, let's examine
erated ending, in the style of the "Valse a mille temps" as performed by the
· characteristics. It should be pointed out that they are not totally
wonderful and fascinating Jacques Brel. What I did was to use the words
' ·valent to downbeats and upbeats in music.
the patter, to change the subjective rhythm of the trick, which is to say the
rhythm perceived by the spectators. 195
The speed of the count seems to be faster each time. I say "seems" ese are equivalent to some extent to the accents in words and to
because the same technique, the Buckle Count, is repeated every time, ments of tension and great dramatic interest in film and theater, and,
and there is a limit to how quickly I can count four cards. It is phrsically refore, to moments that put us into a condition of maximum attention
impossible to go faster in each successive count. But by accompanying d concentration, a state of alertness.
There are strong beats that are specifically magical; for example, the
194. The f4'st time I experienced this trick as an absolutely amazed spectator still rnent of the climax, when the magical effect is produced. And there
lives in my mempry. It was in 1960, on a special occasion the first time I attended
I )
dramatic strong beats, such as a mistake, an accident, a moment that
a banquet hosted by a magic society (the SEI), and I was very excited. The fan-
0duces laughter (before the laughter), any kind of sudden surprise,
tastic magician, later a dear friend, Carlos Sayalero, presented MacKenzie's
abrupt increase in the level of sound (a scream, a stomp) or light (a
trick as a true work of art and made me feel excitement, magic and great joy.
195. Later in this chapter, under the heading "Patter", we will discuss this applica- h of fire), or a sudden gesture (the magician suddenly jumps or briskly
tion of patter to increase the apparent rhythm of this trick 'ses his arms and hands or gestures suddenly in sharp pain), the sudden
298
appearance of a threat (for the magician, for the spectators, for an imp
ant or delicate object lent by a spectator, for a costly or fragile prop t
belongs to the magician or forms part of the stage scenery... ), etc.
Some of these dramatic strong beats, but not all of them, are perfec
suited to accompanying the magical effect, which would otherwise cat
the spectators a little off guard.
We should distinguish two types of these dram<;1tic strong beats. Some
produced by a gag, an accident, etc., that attract excessive attention, me ·
that they capture all of the spectators' attention and therefore hardly all
the magical effect produced at that moment to be perceived with clarity an
to be fixed in memory, or its impossibility or its poetic power of fascination
be felt. They are in a certain way antagonistic to the magical effect.
Others, in turn, like those produced by an increase in the volume 0
music or voice, or the intensity of the lighting, or a dramatic gesture b
the magician, etc., enhance the effect and give it greater value. They are}
then, positive and can benefit, in my judgment, the magic effect. I say
this with a certain wariness and reserve, since the abuse of such momen
can make us fall into the practice of an easy sensationalism, so foreign t
the true and subtle art of magic.
Weak Beats
These occur when emotional tension and interest are reduced to a mini.,
mum and there is a relaxation and a rest in attention.
Sometimes weak beats appear automatically after a strong beat. For
example, a brisk and almost involuntary drop in tension, to relax, after
a strong beat, often produces laughter. So laughter is physiologically a
relaxation of tension.
Another example: We know that after a magical effect, during the
pause fo;r assimilation, especially in its third phase, the spectators' atten-
tion drops becarn~e after the astonishment (strong beat) and remembrance
(in a tense search and recap of the incredible circumstances of the devel-
opment of the trick) come joyful and pleasant rest and relaxation. 196
196. A few pages ahead (twelve, if you're counting) I will describe my views on
pauses: dramatic pauses, pauses for assimilation, etc.
299
.s relaxation of attention is encouraged by the attitude and the restful
es of the magician who is telling us, "It's over." It is also during these
ts (weak moments as far as the_ intensity of attention is concerned)
is appropriate to perform the secret actions we desire to render invis-
because those weak· moments are equivalent to hi"tFing the "pause"
I
n in the spectators' attention, if it is recording what is/ happening.
his non-recording mode not only makes the secret /technique invis-
by helping to cover it, but also makes it indetectab'le by preventing
,spectators from noticing any tension in the hands or in the eyes of the
·cian, or any gesture or attitude that arouses suspicion that he is doing
thing covert, even if that thing is not seen. We have all experienced
as spectators when, watching the performance of another magician,
perceive, without seeing it, that he must be performing some secret or
cult move. We don't see it, but we sense it.
Therefore, placing techniques in moments of relaxation not only
rds cover for the technique (sometimes impossible to conceal, such
the Top Change) but also hinders the perception that something secret
going on.
Still another positive effect is produced. Since the mind is not "recording",
· g in "pause" mode, not everything that happens enters mid- or long-
memory. So when the spectators try to visualize what was recorded,
remember the circumstances of the development of the trick, during the
cond phase of the pause for assimilation (the remembrance phase), they
ot remember what was not recorded. Therefore, the magical effect will
much purer, because they will not even remember the external actions
esponding to that period and will tend to believe that that time didn't
t. In the analogy of a video recording, what happened during the time
e recording was in "pause" mode will not exist when we play what was
corded; neither will its existence be suspected.
7. But making sure, in case we use those upbeats at the end of the trick, that we
don't. miss the marvelous, unique and extremely special pleasure that we, as
magicians, can feel in resonance with the spectators: the fascination of the
magical effect experienced.
 the secret action is not seen, not sensed, it's not remembere " that prevents us from it in the imagination.
emb er'
it is not even believed to have existed in that time. Is there a better offer?I nee is essential here, as in life.
Also keep in mind that weak beats may sometimes be followed by n
Almost Ethical Consideration
new strong beat created by the magician, as when he raises his voice, an
indication of "But look!" If the weak beat is taken advantage of for execut.; garding the strong beats, I firmly believe it is im~ort3rt tha~ the di-
ing a secret maneuver (Diagram 1 below), the actual procedure of the trick of an effect arrives a~ a strong moment of attention. :Sometimes the
is perceived by the· spectators as the procedure ab.sent the moment when at preceding the climax should be turned into such 1moment. This
the secret maneuver was made (Diagram 2), and will later be remembered aythe spectators will be alert when the climax occurs.;With maximum
in yet a third version (Diagram 3). This, as we saw in "Magic and Memory" ention, the sensation of experiencing the impossible ,as possible will
(p. 113), is due to the fact that, without being aware of it, we need to use more strongly felt. In other words, the magical power will be boosted
our imaginations to fill in the gaps in our memories (gaps not consciously considerably. If an impossible effect catches us when we're not paying
perceived as such). For this to happen, it is obviously better if the weak enough attention (at the limit, in a state of drowsiness), it will be very
moment is brief (Diagram 1) and not long (Diagram 4), since a long gap '.t[if:ficult for us to notice that what we witnessed is impossible: It is,
would be easily perceptible in a conscious form as "something we can't ftlthough it can't be. 199
The power of the strong beat in which the magical effect is placed
should clearly be, in my judgment, determined mainly by the development
CLIMAX
of the plot of the trick, by the impact and magical quality of the effect
produced and, if it seems necessary, by support from external elements:
music, sound, lights, patter, gestures.... I've believed for a long time,
though, in artistic magic and am aware of its impact and beauty. I believe
that the effects of great magical quality can stand by themselves. They
don't need additions or presentational patches, which is to say non-mag-
Time Time
ical, external aids. The magic itself, totally impossible and wonderfully
+,I
en
(I,)
s...
(I,)
® CLIMAX
+,I
en
(I,)
s...
(I,)
© CLIMAX
fascinating, in its total naked purity, will make spectators' most beautiful
and sensitive strings vibrate. Those vibrations will be the m<;1,gical mean-
+,I +,I
C C ing of the effect (its symbolism), its nature as secular miracle (as a lived
and,,granted dream), and will impregnate the deep experience of the spec-
tator (and of the magician) with artistic harmony and beauty.
This doesn't mean that some magical effects-or under certain circum-
stances, all magical effects-could not benefit from some type of external
Time
199. In this regard, I recall the famous phrase of the great and witty bullfighter, Rafael
198. However, its use is so appealing, it lends itself to excess and abuse. Your "El Gallo": "What can't be, can't be, and it's also impossible!" which I would para-
artistic judgment will show you the limits. phrase as: "In magic, what can't be, can be-even though it's impossible!"
enhanc_ement (music, patter, gestures ... ), as long as they are treated With
t~e dehca~y and care such magical effects deserve, and with the discre-
t10n and ngor artistic purity demands. The opposite, the exaggeration or
abus_e of external, non-magical elements, could make us fall, with no hope
of return, into perhaps successful but deplorable and easy sensational•
. . ism
an d mto an anti-artistic emphasis. (Borges would cry.)
Time of the Performance
But let's get into something more ev~sive due to its subtlety: the time of
the performance, meaning "the beat", what we refer to as "keeping time".
Something between rhythm and speed, cadence and c~ordination, the
' tempo and the air.
To better explain my idea of time, and to give a break to the reader of
this dense text, I will allow myself the pleasure of inserting a short and
very personal record, published in 1983 in the legendary Circular of the
Escuela Magica de Madrid. 200 I hope it clearly explains what I think about
an aspect of the subject of rhythm and time in magic.
~
Incredible Chronicle of Some Magical
Patagonia
And I am not kidding. I am writing this on the plane returning from
Patagonia. It is February 15, and we are in the middle of the summer here.
We have just flown over Rio de Janeiro after departing from Santiago de
Chile, with a layover in Buenos Aires. To those not well versed in geog-
raphy, I'll say that Patagonia is to the south of Argentina and that it is the
most beautiful region of high-mountain lakes my eyes have ever seen. A
kind of Switzerland but on a large scale. A unique and impressive sight.
We are coming from there (Mary Pura and I). We spent a month com-
bining shows with vacationing (which in the end is the same thing) in
Chile and Argentina. A beautiful trip, enormously interesting and vital.
Magically speaking, I'll tell you:
My,. Work
Those of you who usually read my little travel chronicles know that for a
long time I've had three principles or guidelines for writing them: (1) I try
200. We founded the Escuela Magica de Madrid in 1971. It published a monthly
circular for the members, edited by my "magical father" Jose Puchol, except
for two years when Ramon Mayrata took the reins, and the last four when
Jesus Etcheverry filled the position. It was an inexhaustible and inspirational
source of quality material and deep intellectual thinking about magic.
N
to make it a P·'-'--•<MJ•""-LL.., read and to tell you about experiences, atmosphere
and information; (2) I write only about what I like: sights, magicians or
magic acts, but only those that I like; and (3) I don't write about my own
shows, or mention them only in passing, without evaluating them, to avoid
falling into boring self-praise or, sometimes, into false and excessive mod-
esty. You guys know that in general I like what I do. I have fun with what
I do because I love what I do. But the reason for .this whole preamble is
that today I am going to break the third rule and enjoy doing it, because
it's nice to break the rules and the principles that are "unalterable in their
essence" (dictator dixit). I will talk at length about my work because it
has been an exceptional learning experience, a fundamental lesson for me
that some of you can maybe put to use.
My work, aside from television tapings, consisted of performing
fifty-two times (one for each card in the deck) in a theater with five hun-
dred seats (three hundred spectators on average). Time was flexible from
twelve to twenty minutes. I was closing the variety show (that's what it was
about), following three very amusing performances by comedians that left
the spectators exhausted from laughter. (Chilean comedians range from
good to excellent, and the four in the show were among the very best from
Chile, truly exceptional.) The South American rhythm of the acts in that
variety show (very fast and with high energy) made me adapt to working
more lively, faster. The response was good. The management, the audi-
ence and the critics were almost unanimous in their praise. But ...
On the third day (two shows a day), my voice started to give out. My
vocal chords weren't up to my screams. Dangerous.
I tend to give my all in each session and surrender completely, but by
sixth day I found myself physically and psychologically tired. I wasn't used
to that schedule, since I had always performed two or three times a week at
most-but fifteen times a week (three on Saturday)! ... What do I do?
The patter of some tricks began to become automatic; particularly
those that were more or less humorous. I suddenly began hearing myself
saying words that left my lips without me really feeling them. How do I
avoid that?
I found myself becoming more "comfortable". I tended to do the most
ommercial tricks and, although the audiences were usually good, only
h~n one was really good did I do_ the most technically difficult stuff
sing palming, controls) and dramatize it. I was performing to an audi-
(ence that had come to see a variety show: comedians and: cute girls. I was
i,commercializing" myself.
The worst thing is that I wasn't enjoying the perfo:rrriances as much.
like to perform, yes, but I wasn't feeling that special, .:almost orgasmic
pleasure that gives full meaning to being a magician and performing in
public. Why?
All the above doesn't mean that I was feeling bad. On the contrary, the
human, marvelous, warm atmosphere among all the actors, singers (the
great Facundo Cabral!), female dancers ( cute, young, intelligent, charm-
ing) and managers (two) made the hours in the theater and dressing-room
area more than pleasant. I stress that the audience responses were usually
good and at times very good. (My ego should have been feeling chubby.)
Vifia del Mar (where we were performing) is a beautiful city. Summer
was very good, magicians competed to entertain us, the tours to different
places were beautiful, the experiences of a sea storm, various mini-earth-
quakes and the gigantic waves of the ocean paradoxically called Pacific
made us feel we were on a live planet (a beautiful sensation). The shows
I managed to see were excellent (Gasalla, Les Luthiers, Tihany's circus ... )
1
and I had the good luck of becoming friends with some of the performers
and sharing experiences and knowledge (Facundo Cabral, a vital anar-
chist201; Les Luthiers: a wealth of imagination, passion for their work,
absolute masters of the trade).
She almost daily close-up sessions for magicians (who came to visit
us from Santiago, sixty miles away) and for laymen, fellow artists, friends
and others, were authentically enjoyable, thanks to their receptivity and
love of magic. The sessions were often quite long. With magicians, they
201. Tragically killed years later, an innocent victim of a mafia settling of scores in
Guatemala, on his way to the airport just a few days after I had traveled the
same road.
lasted the night. Mary was sensational, and everything, eve
thing, contributed to make those weeks unforgettable.
In addition, the Muses happened to be most generous and active. Eve
day they whispered something new to me. I was creating tricks, routine
even complete acts all the time; and I wrote a lot. I did not watch Tv, n
even a little, despite having one in the apartment, because life demande
every minute. It was an idyllic time.
Everything was in favor of letting yourself be carried away, but ... r
don't know... something inside me was itching, bothering me slightly, only
slightly... or maybe not so slightly?
I could solve some of the problems mentioned soon after I detected
them. It wasn't hard. To fight against my weakness of voice, I hung the
microphone around my neck and trained slowly but surely in learning to
breathe from the diaphragm to project my voice better. I didn't finish this
training, but I'm on my way to achieving it. To cure physical fatigue, more
sleep and more relaxation time. To cure psychological fatigue, concentra-
tion on what I was doing, how I was doing it and why. I also started to vary
my repertoire, seldom repeating the same act.
To fight monotony in my patter, I experimented with new tones and
nuances. I changed the wording and stayed away from rote phrases
( except in some jokes and gags that required the same wording; but only
in some).
To avoid "commercialization", I demanded of myself ( and conceded)
that I do tricks requiring more technical effort (Card to Pocket with a
freely named card: using a memorized deck, glimpse, cull, pass and one-
handed palm while talking to a spectator is not easy). I also spent a little
time each day with Mary Pura, thinking of new touches for the tricks,
sometimes for their presentation, sometimes for their patter, sometimes
for their technique. We especially worked on those tricks that fell into the
category of "very easy and very commercial". Thus, a freely named card
was used for the Joker gag, followed by a Top Change to transform it into
the named card, and a second Top Change to make it a Joker again; a One-
handed Fan Force for the long-card gag, etc.
this made me enjoy much more the preparation, design and
ing of our act for each day, but I still wasn't feeling totally at ease
g ~he performances. The special joy wasn't there. n
"Of course!" I explained to Mary Pura. "In the end, this isn't totally my
:rrnance. They are coming to see a variety show, not ti° see magic.
like it, yes, but they didn't come for it." Also, I am used t1b performing
r-at least half an hour, sometimes even forty to fifty minutes-and
on consecutive days. This is preventing me from surrendering myself
letely from feeling the necessary tension before the show (not
p ' "
es, which, luckily, I haven't felt for many years). I don't "load and
ad". There is no climax ( as in the sexual act-I used the adjective
asmic" earlier for a reason).
There must have been some truth in these attempts I made, to explain
yr was not achieving that pleasurable climax. And, of course, if I was not
·oying it completely, the audiences there-the other half of the couple in
"magical act"-perceived it. Their feeling was not the same as that I am
d to appreciating in audiences when I perform. Yes, some friends and
ectators I met in the street (over 10,000 people saw me in Vifi.a del Mar,
ity of 30,000) made the usual compliments: "I liked you very much,".or
haaaaan!" or "Very good!" or "How did you do the thing with the slates?
at's impossible!" But curiously, no one said one of the things I appreciate
ost (along with praising the beauty of the magic, and the sensation of
possibility and mystery). I am referring to something they often tell me,
;:ilways with a smile, full of admiration and happiness: "You have a great
time when you perform, don't you?" The reason for the absente of that
nomment is obvious: I wasn't having a great time performing.
An'tl then came my meditations: Is this experience of not having a great
time, of not transmitting the joy, something inherent to professionalism, a
:result of repeated and continuous performances? Is that the reason why
some excellent magicians with acts of quality, which have been honed
and fine-tuned after years of nightly performances, don't communicate as
much and become a bit cold or worse; still admired but not as easily felt
and enjoyed?
 308
Remembering some examples of this made me lean toward answe •
the question for myself with: "In those working conditions it is impossi
to achieve that feeling and that communication."
But ... Kaps and Fu Manchu, Moretti and Salvano, and above all, Fraks
have existed (some still exist), 202 and it was Mary Pura (as it was so m
times) who gave me the solution, hitting the nail on the head: "You're p
forming too fast. It's not like you."
·It's not like you. Of course! The light came on. It is not like me. I am aJ
who wants to please an audience and adapt to the rhythm of a variety show.
The variety show requires speed, dazzle, swing, a lot of swing, showbiz and
that. And I remembered that something similar had happened to me before
years earlier. I recounted it briefly in the Circular of the Escuela. It was with'
my Paris Act. I was determined to keep the act under ten minutes, which came
from having developed it for a competition. 203 I ran and ran and-it didn't quite
work When I got away from this obsession with speed, it became a differ".'
ent act overnight. Juanito Anton witnessed this when we were traveling to
Holland. Once again, it was Mary Pura who gave me the key. How easy it is to
forget, how difficult to learn! I'd stumbled twice on the same stone.
Back to the present case: Since the revue demanded swing and speed,
and because I came on at the end when everyone was rather tired, I had to
run. I already knew the true reason, and there was no solution.
There was no solution?
"Watch very carefully today," I asked Mary Pura the next afternoon,
when I was about to start the first session. And for my own enjoyment--
even if the spectators didn't like it or got tired or bored-I perfom1ed
slowly, or rather, neither slow nor fast. At my own natural rhythm.· A ses-
sion dedicated to Mary Pura. And ... oh, surprise of surprises! The audience
reacted vv:onderfully. They didn't get bored, they didn't get tired and they
seemed more ... how should I express it? They were happier.
The applause hadn't ended when I entered the wings and Mary Pura
arrived, radiant. "That's it, Juan, that's it."
202. I was writing in 1983.
203. This act won first prize at FISM in Paris, 1973-TRANS.
309
d that's how it was. In the performing days I had left (they were
siX, I believe), I did all the shows at that rhythm and-it was some-
, else! I recovered the joy. I could, recreate myself in the pauses (the
ry, difficult and beloved art of the pause). I could watch the spec-
s (and me, wasn't I the one who wrote The Five Poi17:ts in Magic?),
uld extemporize details and comments based on the ~eactions of the ,
tators; two-way communication had been reestablisl).ed. The perfor-
ces didn't consist of demonstrating to a passive audience (almost as if
spectators weren't there); they were dialogs. According to the specta-
' reactions, and whether they were predominantly younger or quieter,
ording to their personalities, character and the psychological situation
he group, and according to my personal circumstances at the moment,
biorhythm, my performance changed. The result was excellent. It
nt from a rushed masturbation to an extended period of love making.
Frakson was right (once again). I remembered him then: "Juanito:
e! Time is the most important thing when performing. You should love
t you do. That's the first thing, of course. But when you are perform-
: Time! You can't lose track of the time. Did you see that magician last
ht on TV? He was good, he did very well; but at the end the rhythm got
ay from him, and that's terrible, Juanito, terrible."
Frakson, beloved Frakson, who art in heaven and amongst all of us,
ow I understand you better. I know, and I hope not to forget, what time
, what it means, how essential it is for the art of communicating a love
fwhat you do.
There is no complete sensation of mystery, there is no true laughter
d smile, and therefore there is neither magic nor humor nor anything
Jse ,that will reach us, if there is no communication in both directions, if
ne stupidly wastes one's time.

Let's now continue:
The art of the pause-fundamental in magic, as it is in humor, musi
and more.
I remember a magnificent tip from the remarkable Ken Brooke. H
stressed to me the importance of the pause prior to the magical climax.
Later, through my own experience and that of others, I have analyzed
enlarged and, I hope, gone deeper into the concept of the prior pause, as'
well as the pause that follows the effect and other elements.
I'll explain:
Among the various types of pauses used in magic, I will focus for now
on two of them. First ...
The Prior Pause
We have reached the end of a trick or routine. This is the high point, the
magical climax. We reveal the card by turning it over-it is the selected
one. We put an empty hand into the empty bag and take out-a hen's egg.
We stretch out the hand we have shown on both sides-and capture a
materializing playing card at the fingertips.
If we execute the final action, the climax, in uninterrupted temporal
continuity with the previous actions-asking for the name of the card,
showing the bag empty, displaying the palm and back of the hand-even
if the magic we want to communicate could be excellent, it is easy for
it to "catch the spectators cold", therefore making the magical sensation
weaker than it should be.
Why?
It lacks suspense, prior drama and the creation of emotion. There is a
surprise but no suspense or other feeling.
Simply put, the unexpected arrival of the climax, as I've said, can catch
the spectators cold and reduce the impact of the magical effect.
There is a technique to prevent that coldness. It consists of placing
a pause just before the effect; a complete pause, stopping all gestures,
sounds and movements for a second or two.
All this makes it a dramatic pause aimed at creating a maximum dra-
·c tension to match the arrival of the effect, the magical moment. But
~use in tum should be preceded by a more or less rhythmic chain of 0
,:ents, circumstances, promises of the effect known to b~ impossible;
uence that makes the spectators' interest grow. :'
q ' .
The chain is suddenly interrupted; it breaks, and the fl1.ental tension
t by the spectators spikes upward. They have been aski:qg themselves,
ow will it be possible?" '
v\7hen the chain is broken by an unexpected pause, tension rises
ruptly: "What is going to happen?" The effect then catches the specta-
rs in an expectant attitude, with a high level of mental tension.
A known principle of physiology also plays a part. If we tap the table
ghtly with our fist-tock, tock, tock-half a dozen times, with a steady
ythm, and we suddenly freeze, that pause of expectation (the next tock
at doesn't come), automatically adds mental and physical tension.
If we then continue with a final tock, the body and mind receive
e expected ( or unexpected) impact of the tap with a little shock that
creases the emotional tension. Afterward, after the final tock, comes
relaxation and a rest.
Obviously, if instead of the expected tock ( a pleasant surprise) there
came an unexpected patacrock! (the magical effect), the shock will be
bigger and so will the increase in tension.
Let's look at a couple of examples:
The magician, after going through the procedure of the trick, arrives at
a point where he is holding a card in his hand. He looks at the card without
yet showing it: "What card did you take?"
They answer. "The Three of Spades?"
The magician looks at the card, then at the spectators. He looks again
at the card. Pause (totally calm, brief)-then he turns the card over. It is
the Three of Spades!
Second example: In a manipulation act, the hand is shown empty, both
back and front. Pause (looking at the spectators, still, briefly)-and the
card appears!
N
Third example: The hand, clearly empty, goes a bag previously.
shown absolutely empty. Pause (looking at the spectators)-and the hand
comes out holding a hen's egg!
In all three examples, the difference between pausing and not pausing
is very noticeable. In one case we can say there is emotion, drama; in the
other, without a prior pause, the emotion is reduced. There is surprise but
I repeat, it will probably catch the audience cold. ' ced there is no rational solution (see The Magic Way), he ;will have time
This general rule of pausing prior to the climax is applicable to all specific
magical effects (with the exceptions pertaining to any art). Its simple appli-
cation increases the dramatic and emotional effect of the trick considerably.
And its methodical application to the effect and climax of every trick, routine
and session provides warmth, color, drama and emotion to our magic.
But before analyzing prior pauses more deeply, let's "pause" to see
what they are:
Dramatic
Time Time
Without a dramatic pause With a dramatic pause
The Posterior Pause (the Pause of Assimilation and Enjoyment)
We have already achieved maximum dramatic impact. The next goal is
achieving maximum intellectual and emotional effect: allowing the plea-
sure produced by the sensation of the impossible and marvelous to be
fully felt, giving time to savor what was experienced without disturbing
the enjoyment and joy of the magic.
We have achieved the Wow! and the Oh! The next thing to achieve is
the It can't be and the "1hat a wonder!
For that we need the spectator to assimilate the impossibility of the
effect witnessed: "He named my card and he had no way of knowing! And
.tin deck I shuffled! How ,,,,. .. ,_._'L,, "He created a hen's egg
Joundl
a totally empty bag! What beauty!" "He materialized a playing card at
fingertips that was invisible and floa~ing in the air! How wonderful!" In (')
er words: the impossible is followed by the fascinating.
And all of that without spoiling the ~rior dramatic emoti~n. The goal is
avoid giving the spectator time to analyze coldly. Instead, "'r:hen he is con-
internalize the effect, its measure of impossibility (maybe ialso of beauty,
fhidden symbolic significance ... ), andjoyfully jump into the magical emo-
'uon of the proposed fascination: the final Rainbow of The Magic Way.
That pause for assimilation (a total pause: stopping all hand gestures,
sound, foot movement and almost, almost, breathing) must be long enough
(three or four seconds, depending on the specific weight and quality of the
effect) and take place after Uust after) the effect.
It is essential (aside from the usual exceptions-we are still talking
about art) to use this after-pause systematically, especially at the end of
effects and in proportion to their intensity and magical quality. The quick
appearance of a handkerchief requires a short pause for assimilation. The
journey of the wooden die from its box to a hat requires a pause that is lit-
tle longer. A previously burned playing card that appears inside an orange
selected by a spectator requires a long pause.
CLIMAX CLIMAX
Time
Combined Action of the Two Pauses-Memorability
Aside from what each of the pauses achieves by itself, there is a comple-
mentary and synergistic action when both are combined.
N

On the one hand, they multiply the dramatic impact and the magic And all that just by including a few pauses.
sensation of the trick. But the combination also causes the effect to be By staying still.
recorded in the spectators' memories much more intensely. It took place By doing nothing (literally).
at a moment of maximum tension and expectation, and there was more Final pause.
time to assimilate the impossibility of the effect, and more time to savor it.
Pauses for Drama and Assimilation /
It's an indelible experience that probably will long remain in the memories
of the spectators, so that they will later be able to recreate it and recall it etter said, of temporary, not final, pauses. Because we pontinue, after
more easily, more intensely and more often. ur deserved rest (my patient reader) with an in-depth $lalysis of both

As a result, the spectator will f these pauses, and others.

enjoy the magic longer, more often "'
+-I
I will first broaden the analysis of these two pauses.
E
and more intensely. And, as we all +-I
Cl)
'he Dramatic Pause
C
know, the spectator will gradually will start by asking myself some questions to which I will try to respond
increase the intensity, the impossi- o the best of my knowledge.
bility and the exciting beauty of the What is the dramatic pause like? It is prior to the effect. Its purpose
trick every time he evokes it (The to build emotional suspense and to ensure that we don't catch the
Comet Effect: a brilliant explosion in spectator cold, ill-prepared for the effect. It's the tension of waiting for
0

the effect followed by a bright, long,
larger and larger luminous tail). 204
A Quick Recap
Dramatic pause:
Prior and brief. Duration proportional to the power of the magi-
cal effect. Objective: more emotion, due to a maximum of tension and
expectation.
Pause for assimilation and enjoyment:
Subsequent and long. Objective: more sensation of the impossible, more
time to assimilate the beauty, more enjoyment and experience of magic.
On the whole:
1
More dramagic. More likely to be remembered. Easier to recall
recreate in your mind, more and more impossible, more and more excit-
ing, more time and more intensity of enjoyment.
a promised and hinted-at effect. It also helps in fixing the effect better
Time in memory.
When should a dramatic pause be made? Before each effect, unless
the effect is meant to be a surprise; that is, the surprise is that there is an
effect! But it still should be present before an effect in which the surprise
consists of the effect being different to the one expected.
Are there any dangers? Yes, the length of the pause is not propor-
tional to the impact of the effect. Let's look at an example. The dramatic
pause in a circus stunt, such as a double somersault, is usually,. classically,
a drum roll following the verbal announcement of the stunt: "And now the
Great Gonzalez, the human eagle, will perform a stunt on the trapeze never
before attempted and very dangerous." Drum roll: Rat-tat-tat. Gonzalez
prepares ... Rat-tat-tat ... Gonzalez, muscles tensed, very concentrated.
Rat-tat-tat ... All eyes are fixed on Gonzalez, who remains motionless.
Suddenly, Wham! He executes a triple somersault with a twist. Everyone,
after an astonished Wow! of admiration, bursts into applause, a vehicle

204. Discussed in detail in Chapter 4, p. 147. that releases the accumulated tension.
 the drum roll (rat-tat-tat) Gonzalez's stunt would have caug
the spectators unprepared. Someone might even still be looking at t
announcer down there in the arena. In other words, without a prior dr
matic pause, the effect is weak
But if the rat-tat-tat goes on and on-rat-tat-tat ... rat-tat-tat ... rat-tat~
tat-the spectators, incapable of maintaining expectation under tension
for that long, relax, loosen up. They need a rest. .Some might even look at
their neighbor or at the rest of the audience, and Wham! Gonzalez jumped;
It's a wonder, but ... he has caught the audience at a low level of attention
almost relaxed. Some weren't even looking ("I missed it!"). This shows'
that an excessively long dramatic pause will cause interest to diminish
and the effect to weaken.
However, it can also happen that there is a standard pause and drum
roll, after which Gonzalez does an elementary, easy somersault. Then frus-
tration is produced: the drum roll promised more.
Thus, the length of the drum roll (the prior dramatic pause) should be,
as I've said, in accordance with the impact of the effect.
The appropriate length of the dramatic pause is also governed by the
degree of dramatic interest• generated throughout the development of the
trick Think about television game-shows. If a contestant is playing for a small
prize, the host can't sustain a prolonged pause before stating whether the
answer is right or wrong. But if a large sum is at stake, say a million dollars,
the wait can be ten to twenty seconds long, even longer. Similarly, a danger-
ous escape stunt can sustain a longer pause before the escape is revealed,,
It should also be kept in mind that an excessively long dramatic pause
can become an anti-contrasting parenthesis (as defined by Ascanio),
parenthesis that makes people forget the initial situation: Two copper
coins and one silver coin are in my hand. I close it. Long dramatic pause.
I open my hand. There is now one copper coin and two silver coins-a
1
weak effect ("Were there two copper coins before? I'm not sure .... ").
As we can see, this art of ours is complex, very complex. Great!
And there is more. What do the magician's eyes do during the dra-
matic pause?
the U,.,L,,.,.,u,'l.A'"' of the magician during the pause have their
importance. Let's see.
·There are numerous possibilities, but I'll begin with two classic ones. The
gician shows his hand empty (and looks at it). The m~gician closes his
d (he looks at the spectators and pauses). The magician/looks at his hand
run (brief pause). He opens his hand and a handkerchief has appeared in
Three beats are marked: Look at the magical place-look at the specta-
rs during the pause-look at the magical place again-magical effect.
And there is still another beat, when you look at the spectators yet again
· g the pause for assimilation. So the two glances at the spectators are
'oined to the dramatic pause and the pause for assimilation.
But those two glances at the spectators (during the pause before
d the pause after) differ from each other, and I believe they should be
~ccompanied by different attitudes from the magician. For example, the
first glance at the audience is accompanied by concentration; waiting and
nsion. Then comes the second glance at the audience, after the effect,
accompanied by surprise or joy or astonishment ( or all three, or others).
These are not mechanical pauses and glances made by a robot magician,
but emotions loaded with life and feeling made by an artist magician.
By the way, the first three looks (hand-audience-hand) during the prior
pause also help to control the spectators' attention and increase their
concentration. Through this we achieve more clarity and consequently a
stronger magical impact.
The other option, also classic and effective, consists of focusing the
gaze the whole time on the magical place: the empty hand. The hand
closes. Pause without taking the eyes off the hand. The hand opens-and
a 11all appears. Now, if you wish, look at the spectators.
So there are clearly different and varied possibilities, all of them valid.
We are talking about art (let's not forget).
Another issue: It is best to be cautious with a special type of pause
that, even though it comes before the magical effect, is not a genuine dra-
matic pause. It is the pause made after an apparent failure of the effect.
Although it is a pause that comes before the actual effect, it's not wise to
N
dramatize it much. It is better when kept brief, to prevent the sensation
failure from being fixed in memory due to its strong impact. We must be
in mind that failure is dramatic in itself, and there is a danger (very often
manifested in reality) that the sensation of the magician having failed can.;;
not be erased later, not even with a demonstration that the failure was
a pretense, a tease, a fiction introduced by the magician. I remember
comment by a kind lady at the end of a session .of mine: "It was all very
good, and don't worry about the mistake you made. The rest of it was
fantastic and marvelous." The mistake she was referring to was a simple
sucker-bit, but the dramatic pause was excessive, and the time elapsed
after the pretended mistake was longer as well. The spectators experi-
enced the mistake and transferred it to long-term memory. The eventual
revelation showed them intellectually that there was no such mistake, but
they could not erase the sensation it produced (frustration, pity, distress).
Keep in mind that facts can be changed or erased, but emotions already
felt cannot be. If I'm told my house is on fire, upon which I have a heart
attack, then a minute later they tell me it was a mistake ("I was wrong,
the fire was in a garage next door"), no one will reverse my heart attack
(especially if I die!). I repeat: Facts can be erased, but emotions cannot. If
it is felt that something failed, it failed.
Let's go on: Is the dramatic pause a static pause? Yes, to my under-
standing, it is. The magician's gaze fixed on the spectators, in the scenario
described previously, as well as his gaze fixed on the closed hand, should
remain stationary during the duration of the dramatic pause. You should
also keep your mouth shut. By that I mean that the pause should be a silent
one, to make it more dramatic. If there is music, it may be a good idea
have the volume noticeably reduced, or have a note held, or even to have
the musie cut to absolute silence. If later, when the handkerchief appears,
you say, ''Here it is," or the music comes back, or there is a stronger chord
(Chann!), the drama and final emotion will be unquestionably more pow-
erful. But-careful!-we mustn't fall into easy and artistically deplorable
sensationalism. Let's remember, the dramatic pause, the silences, music,
lights, none of these can, in the truly artistic sense, replace the quality of
effect, the impact of its inner symbolism or the beauty and fascination
its magic. Danger lies in external fireworks, sonorous sensationalism
d,the dramatization of emptiness. Even if you get an almost automatic
tion or a "tickling" one, the volume, length and intensity of the applause
not everything. The important thing is the quality of fhe magical sen-
;tion, of the emotion felt, the real joy and pleasure of /amazement and
el, felt deeply and truly, whether it is expressed through applause or
t. I believe this must be so.
e Pause for Assimilation
I observed earlier, this pause is held longer than the dramatic pause in
der for the spectators to be able to assimilate the effect and its impossi-
·ty at both an intellectual and an emotional level, so they can dive into
e fascination and feel the pleasure of the shared dream.
s Three Phases: Astonishment, Remembrance, Enjoyment.
will describe three phases that I believe comprise the pause for assimi-
tion, the time necessary for assimilation to occur. I think the spectators'
'nds and feelings must go through phases I identify as astonishment,
emembrance and enjoyment.
In the astonishment phase, the spectator, on being confronted with
e impossibility of a witnessed miracle is left, sometimes literally, with
his mouth open, his eyes fixed, unblinking, holding his breath, leaning for-
ward, shoulders raised and tense; in other words, astonished.
It's a brief phase, and ifwe look at the spectators we will see the signs
just described.
When recovered, the spectators go into the remembrance phase. In it
thet backtrack in their memories what is recorded there about the condi-
tions and circumstances of the procedure of the trick: "He showed an empty
ox, the lady got in and she was sawed in half. The halves were separated,
\head and feet in view, they put them back together and she reappeared
alive ... a miracle!" They look upward, the standard "remembering" position
.of the eyes. In this attempt to remember the situation, the spectators may
searching for a rational solution ta the impossibility proposed; or, on the
320 321

contrary, they may be confirming the circumstances that made the eve Attitude of the Magician during Pauses
impossible: "The halves of her were three feet apart." "I thoroughly shuffle r. Drama and Assimilation
that deck myself, and now it appears totally in order." It can also be a corn
ehave traveled, in an inner trip, through what spectators probably expe- n
bi:n,ation of both objectives: a search for a solution, and a reconfirmation of
nee and ~eel
1' ,
but what does the magician feel and experience
;
during
the circumstances that made the effect a secular miracle. I

t process? . i ,
The spectators backtrack along The Magic Way and find every one of
It's a delicate subject. Every artist feels ... what he feels! There cant be
the solutions locked or nonexistent, except for the one that leads to The
y rules. But perhaps there can be reflections on what the magician does
Rainbow: magic. We could say that both hemispheres of the brain travel
at helps or hinders the proper management of the spectators' experiences.
The Magic Way together. One of them is left without a solution: the logical
The attitude of the magician before and during the dramatic pause can be,
hemisphere. The other succeeds: the emotional hemisphere.
I've mentioned earlier, an accompaniment of the spectators' feelings. "Pay
Now the spectators are ready to enter the third phase: the phase of
ention! Look carefully! Let's see if it happens. Let's see if the magic gesture
enjoyment, joy and pleasure found in what they are experiencing; the
oduces the effect. It seems ... Yes!" Obviously, if the magician feels this and
flight on the Winged Horse of Happiness and Imagination; the symbolism
resses it in this way, the spectators will feel it in the same way, and that's
of the impossible wish fulfilled, felt at a subconscious level. The enchant-
ow they will express it and how they will later react. There are, of course,
ment, the experience of magic.
rt.her possibilities. The magician seems totally confident in his powers and
The spectators relax and feel. They smile or at least show their plea-
rtain that the magic will happen: or the magicienne finds herself wrapped in
sure through their bodies, leaning back, relaxed. Their faces also reflect
atmosphere of enchantment and the marvelous; or the magician ....
enjoyment, probably happiness, and their eyes look to share with other
Here·are some thoughts regarding the attitude of the magician during
spectators those sensations of fascination and the possibility of the mag-
e three phases of the pause for assimilation:
ical effect: suspension, coincidence, divination, magic happening in the

I
During the phase of astonishment, I believe a good attitude is to wait,
spectators' hands ....
·thout moving or talking, and allow the spectators to experience their

G) ® ~ ~~~i~~?
No.
r ®
JOY AND PLEASURE
tonishment. And if the magician looks at the spectators, perhaps their
CLIMAX: ASTONISH- . . REMEM- , . Impossible cir- • (enchantment, fascination,
xpressions will infect him. He might even feel, through empathy, a cer-
MENT! BRAN CE
...______ ~ Yes.
cumstances? marveling, miracle.... )
tain surprise or admiration for the effect.
Pause for assimilation-three phases The magician can aid in two ways with the remembrance phase. One
oqld come prior to the climax of the effect, by providing a recap of what
They also feel the beauty of the words, the plot, the gestures, the
happened throughout the procedure of the trick; but care should be taken
precise and precious handling ... and perhaps, without knowing it, with-
ot to make it too long, confusing, boring or an anti-contrasting parenthe-
out feeling it consciously, they experience the implicit symbolism and
~is. If possible, there shouldn't be any explicit mention of moves or trickery.
the impossible wish fulfilled, the dream come true: the resurrection, the
Another aid, coming after the effect, is to summarize it with gestures. 205
return to childhood, the ascension to the heavens, the creation of life, the
though this gestural recap is not a true pause, it is a pause in the sense
animation of objects, the liberation, etc.
Summing it up, it is the enjoyment of the art of magic. 05. See what I wrote in Chapter 4, "Magic and Memory", p. 159.
N
that it doesn't advance the magical plot. These are accompanying gest~res
for visualizing memories.
With these two aids, both optional, you make the spectators go quickly
through their memories of the path they traveled along The Magic WaY,
allowing them to enter the enjoyment phase of the magic, which is the
true objective of our .art.
Nso, during the third phase (an encounter of the third kind in the
Spielbergian sense: a direct and conscious experience of the fantastic
the supernatural, the dreamed), the phase of enjoyment, there is noth-'
ing left for the magician but to enjoy it himself as well, not shortening or
interrupting the spectators' pleasurable moments given by the feeling of
magic. I'll explain:
Years ago, I used to make use of the time during the relaxation of the
attention of the spectators to clean up ( ditch or switch some gimmicked
object) or to prepare the next trick, etc. But since I read the beautiful
books by Jacques Delord 206 and absorbed the concepts in them, I try to
live those moments with intensity, forgetting all trickery, not cleaning any-
thing up, with an open mind, while looking at the spectators, watching
their joyful, happy and admiring faces, feeling their applause for what it
is: their gratitude for the experience provided by this wonderful art of
magic. I also resonate with the spectators, sharing their emotion, feeling
the same pleasure I had (sometimes forgotten) when, unaware of trickery,
I saw my first magicians. That resonance brings me a new joy and gives
me artistic energy and a vital state of happiness. I.feel that all the effort,
rehearsal and creativity put into that artistic magic trick provide true hap-
piness, joy and much more. Look at them out there astonished amazed
' '
incredulous, enchanted and happy. (If, in addition to that and because
it, we feel admired and loved, so much the better.)
To attempt to explain that sharing of pleasure and enjoyment, here is one
last personal example. My son, Juan Diego, since the time he was small boy,
206. Sais le Magicien, Sais l'Enchanteur and l'Eternel Magicien 1971 1972 and
' '
1973, Editions G.P.: Paris; three wonderlul works full of poetry, fascinating
pictures, texts and inspiring ideas.
ed spinning and has a small collection of them. 207 During my travels,
en I, find a new top, while buying it I feel the pleasure and excitement he
enjoy when he sees it. I wrap it up nicely, using lots of tape, so that it takes
·lum longer to open his present and enjoy it. I then give it to him in person, not
l~aving it for him to open when I'm not there. I don't want to ~s the moment.
want to be present to enjoy the suspense while he unwraps it, to feel that
emotion myself, as well as his surprise (a musical top!) and;joy. Although I
know what the package contains, I can empathize with Juan Diego's surprise
and contentment, and then enjoy with him how the top dances, spins and
plays its notes, appreciating its beauty and novelty: its "effect".
I think this experience is totally applicable to our magic. The magician
can feel his own magic. Isn't that wonderful?
There are other different pauses during the development of the trick, the
routine and the session. Let's look at some.
..... .,,"."""'"'"' Pause
Before starting the trick or session, maximum expectation and concentra-
tion can be achieved through an initial pause. The magician remains silent
and quiet after coming out to perform or before beginning a new trick or
new phase of his session. We all know the sensation this pause produces
in spectators. There is a restrained silence, a calmness and a certain sus-
pension of the rhythm of everyday life that prepares us for what is about
to begin. I know all too well that it is not an easy pause to make, let alone
sustain, since it demands a high level of self-confidence from the magi-
cian, as well as a strong personality.
' T'.here is a danger, as in all pauses, of making it longer than appro-
priate, but there are great artists who do it in an impeccable and very
powerful way.
In my judgment, there is another danger; that the pause is felt by the
spectators as an act of pride or control, arrogance: "Here I am. Now all of
you shut up and wait." Attitude, as always, makes the difference.
207. Juan Diego was seven years old when I wrote this in 2008.
N
Another use of this pause is to convert it into a true moment, not
faked one, of concentration for the magician. This happens during classi.:
cal music concerts and in other kinds of musical performance. The pianist
l n
the conductor or the orchestra concentrate. That waiting pause makes
spectators feel the inner concentration of the performer, and they pre~
pare to communicate with the soul of the musical interpreter. Depending
on the style of the show in which the magic is bnied (a show, a theater
production, a recital of artistic magic), the inclusion of this form of initial
pause will be more or less fitting.
Time Time
Without a dramatic pause With a dramatic pause
Resting Pauses
Aside from the obvious pause of the intermission in a magic show, a ses-
sion can also be sprinkled with occasional resting pauses between tricks.
Such pauses are seldom used in stage magic, but in close-up magic a care-
ful and balanced use of them, with comments from the magician, or even
brief dialogs between the magician and his spectators, will enhance
audience's concentration on the next trick It will also help the magician
to get acquainted with the spectators, to feel their moods and sense
cohesion in the group.
Let's not forget that music and stories, both dramatic and humorous,
inserted between tricks can also give spectators a rest and time to relax,
ile they give magician a chance to recover his energy, strength and
pacity to feel the miracles he presents. There is a danger, though, of
using the number of resting pauses: This can produce unwanted inter-
tions of the magical sensation, break the general rhythm of the session
weaken and possibly dissipate the magical atmosphere.:
ere is another kind of pause that is of great magical interest: the
oments of relaxation. They are very brief and make Spectators relax
eir attention mo,mentarily. They are extraordinarily useful as opportu-
llities to execute the secret actions of a trick And the more natural they
e, which is to say, when the plot of the trick logically requires them or at
ast seems to, the more artistic they will be.
To better explain it, let's say we need to make a Top Change or remove
e stairs that hide the girl who was inside the cage. Before the sleight or
olling away of the stairs, we generate a strong moment of tension. This
ight be created by an impossible promise, an apparent failure, a music
r lighting effect, or an apparent near accident. Then we show that the
ccident" was inconsequential, or we rectify the mistake with a gag, or
e musical effect ends with a bing-bang. The pause of two or three sec-
nds we exercise at this point will make an ideal relaxation pause. With
e appropriate timing, it is an ideal moment to execute the Top Change or
ave the stairs rolled away by an assistant; a visible movement that goes
unnoticed by the spectators.
Using moments of diminished attention caused by dramatic relaxation,
pauses of relaxation, to perform sleights or actions we want to go unno-
.ced is a principle the importance of which cannot be stressed too strongly.
Iaut, as I've already indicated, it is advisable that these pauses are
erceived by the spectators as natural and not as artificially created or
posed by the magician. Otherwise, they will arouse suspicion and break
e rhythm, resulting in the loss of the artistic harmony of the whole.
But when are these pauses natural? For years I have been thinking
at pauses in magic can have an approximate equivalence to punctuation
arks in a written text.
 326 327

+.J e. After a routine, there is a "period and new paragraph" pause. After
w CLIMAX

~
,in the session, there is a "final period" pause. After a question to
2E
spectators, there is a "question mark" pause. After a dramatic effect,
C:: I

I
e is an "exclamation point" pause. There are other eq~ivalences, not
I
much pauses in themselves, between the stimulants fof relaxation in
magical plot (during which you ~xecute the secret mores} and other
e Secret move ctuation signs. For example, when counting nine cards in a Hamman
Time Time unt, after having counted the first three, if you assume an attitude of
It was like this with The spectators believe tc., etc." while you count four, five, six ... , this kind of relaxation yields
a relaxation pause it was like this effect like an ellipsis.
Pauses and Punctuation Marks When an accident happens, either genuine or feigned by the magi-
In a written text or speech, there are, as we all know, punctuation marks: it's like something in parentheses; for example, the switch of objects
the period, comma, colon, semicolon, question mark, ellipsis, parenthesis '
·ng Double Crossing the Gaze. 210 And an in-transit action is equivalent,
etc. These marks act as pauses of various lengths that aid in comprehend-' a way, to a colon.
ing the written or spoken text. Let's try to find a structure for all this.
With spoken text, they also have the function of offering rests for
breathing. The sense and intonation of the text are affected by these quivalences between Punctuation Signs and Pauses in Magic
pause-marks. In certain ways, this is applicable to magical patter. 20s comma after a very simple effect
I believe that, in magical patter, these punctuation marks correspond semicolon after a simple effect
exactly to pauses of different durations, inserted into the procedure of the . period after an effect
trick. And when understood and properly used, they can help to conceal new paragraph after a full routine or a strong effect
the secret or to improve and boost the magical effect. The mind doesn't . :final period after a session or an extraordinary effect
record during relaxation. It is in "pause mode". Therefore, any unnatural colon goal, in-transit action
or suspicious gesture or movement, even a secret glimpsed by the spec'- ... ellipsis etc.
tators, will not go into long-term memory and will not be remembered. 209 · ! exclamation point after a shock, surprise, drama or a great effect
I think a session consisting of several routines, some in tum consisting ? question mark after a direct question to the spectators
of several tricks, and these producing several effects, should be punctu- () p~entheses a small accident or mistake, something incidental
ated by pauses of different intensity and duration for separating those And if these pauses, these moments, are used to contain secret actions,
effects, tricks or routines. After a quick effect (an Ace appears reversed), those actions will be better· concealed, helping to obscure the method
there is a "comma" pause. After a final effect of a trick, there is a "period" totally, ensuring that His Majesty, the Effect will reign, with crown and scep-
ter on his throne. (What happened to my vigorous rejection of monarchy!)
208. Someone told me that Dai Vernon may have had a similar approach to the
subject. I hope this is true! Final period.
209. See Chapter 4, "Weak Beats", p. 298. 210. See The Five Points in Magic. 2007. Hermetic Press, Inc.: Seattle; p. 23.
N
Generalities
If we understand misdirection as the technique of misleading or distrac
ing, · timing is the technique of synchrony and opportunity. A broad
category that includes both these techniques is the control of attentio
In the arts, misdirection is used almost exclusively by magic. (Outsi
the· arts, it is used in swindles, military strategy, etc.)
Timing, as synchrony, is not specific to magic in the arts. Coordination
and management of the rhythm are necessary in plays, in conducting
orchestras, in shooting videos with a crane, etc. But there is a certain
aspect of timing and opportunity that is specific to magic: when some-
thing secret must occur at the right moment for it to remain concealed. We
can then say that magical timing is the art of synchronizing the elements
of secret actions among themselves and at the right moment for them
to remain secret, concealed, imperceptible. (I will later elaborate on and
analyze the functions of good timing in magic.)
Therefore, magic timing is also a form of cover; it is a part, to an extent,
211
of misdirection and, in that sense, is specific to magic.
An Example of Timing
Let's attempt to see, in a non-magical example, what timing is and what it
is not. Let's say we are driving to Cadiz in your new car. "You drive," you
tell me, "but don't change gears too much. This car is very sensitive." (This.
supposes that you are very fussy and fastidious. By the way, are you?)
I drive, trying to disguise every time I change gears. To do that, I start
an interesting conversation: the adventures of our last African safari, from
211. From ,here arises the confusion in stressing misdirection in the magic of
Slydini, who is. often referred to as the "Master of Misdirection". To my
understanding, his magic is based, more than any other, on the synchronized
coordination of actions, speech, body movement and the masterful man-
agement of strong and weak beats. These elements, as we will see, are all
components of timing. "Sublime Master of Timing" would be my description
of this absolute genius of a magician.
'ch you I have . (a presentation). The conversation
inates you and therefore amuses and distracts you, being part of a
e~al distraction (an activating pre~entation, misdirection). n
But we are approaching a hill. I have already shifted gears twice and I
d to do it again, unnoticed. So I d~op my hand onto my kpee and scratch
(naturalness, a conditioIJ,ing movement). I raise my han4 again and ~ud-
y tum to you and signal with my gaze for you to lo°:k to your nght,
ough the window (misdirection through physical distraction, change of
e) and I almost yell, "But what is that tiger doing?" ( a blurring question,
. You look, surpnse
ental distraction). · d an d scare d . "Where.?" Me·. "Oh'....
. ..it's a wildcat that eats more than Amilkar." 212 Laughs (misdirection or
orous distraction).
I have taken advantage of this moment of relaxation (timing, oppor-
ity) to drop my hand and change gears, synchronizing the action of
y feet on the accelerator and clutch pedals ( down-up as the other goes
p-down) and the gearshift (moving it exactly when the clutch pedal is
own), so that the gears don't grind (synchronization of technical actions),
llowed by management of gradual pressure on the accelerator after the
shift of gears to avoid betrayal by a sudden engine roar (technique).
When I look forward, I say, "Careful!" and tum the steering wheel to
·. correct our direction, because when I got distracted I drifted a bit (new
strong moment that prevents what happened during the relaxation or
weak moment to be fixed in memory).
I continue to chat about the safari, the fascinating adventure of the
lion; and you, dear reader, you innocent and candid soul, haven't noticed
my shift of gears.
,The objective of driving you without any disruptions to magical Cadiz,
with its joy, its charm (and its food!), is being fulfilled. The Magic Way
continues onward to The Rainbow. 213
212. The stage name of Amilcar Riega, a fine Spanish cardman from Barcelona
who loves to eat and has a figure that testifies to this.-TRANS.
213. Take this car trip as only an academic exercise. I support the theory that we
magicians, as experts in. the techniques of deception, are the people who
N

We observe, that timing has two functions:

4. Body:
1) Correctly synchronizing technical elements (feet and hands du:rin -the position of the feet
the moment of changing gears) and non-technical elements (phrases · -position
)

gazes, prior attitude, during and immediately after the shift of gears) -movements
to make the change imperceptible. -tension-relaxation
2) Creating or making use of a psychologically robust moment of oppor- (It relaxes upon dealiI;lg the last card.)
tunity for the change (combination of str~mg and weak moments,
5. Eyes:
coordination of the patter and presentation, etc.).
-direction
But let's look at this in more detail, as it applies to magic.
-movement
Elements to Synchronize (Timing) -expression
(They look at the hands and then look up, right before the false deal.)
Several elements need to be synchronized. In magic, they can be classified
as follows (we'll use a Second Deal as an example). 6. Voice:
-what to say
1. Fingers:
-how
-position
-when
-movements
(For example, you say, ''Have you heard of Threepoker?" just before
-pressure
; false deal. Then, after the false deal, ''It's a combination of poker and
(Both thumbs move in coordination, the moment the hands meet to
three-card monte. I'll show you sometime.")
execute a Second Deal. One exerts pressure, the other doesn't.)
7. Attitude:
2. Hands:
-external psychological attitude (the expression of the face)
-position
-internal psychological attitude (I am complying with the simple
-wrist turns
task of dealing)
-tension-relaxation
(The hands tum toward us when dealing cards.) These seven elements are the components of technique: fingers, hands,
arms, body, gaze, voice and attitude (psychology). One of the proper
3. Arms:
functions of timing is this coordination (synchronization) of elements: syn-
-position
chronous timing.
-movement
That synchronization tends to make secret actions effective (the
(They move toi bring the hands together, then separate them in making
Second card is taken smoothly and rapidly, instead of the first), helps to
each false or honest deal, in a rhythmic and precise way.)
conceal them (turning the hands, moving the arms), makes them barely
should use these techniques the least or not at all in everyday life, just as a perceivable (distraction caused by a question and by moving the gaze)
heavyweight boxer should never abuse his strength and power outside the and ensures they are not suspected (attitude, facial gestures at a given
ring, except in extreme cases of self-defense. moment ... ).
N
Synchronous timing has the specific function of coordinating ln f
( synchronizing) all the elements of technique and misdirection ( distr
tion) to achieve their goal: the concealment of the secret.
But all this should be synchronized not only to ensure that the co
bined elements don't "scream", but also to be certain they all take place
an appropriate, and an opportune, moment. I think it helpful to <listing •
this use of the opportune moment from the more aµtomatic use of synchr
nized elements. But before getting into the aspect of opportune timing, her
are some brief considerations that I believe are also opportune.
1) Timing is not to be confused with tempo, rhythm, cadence, mood.
It is a very different thing. Synchronous timing involves a spe..
cific point in time and the coordination of what is produced at
that instant, just before and after. It is not something that develops
over time, as happens with tempo, rhythm, cadence, etc.
2) If the seven elements are examined (seven, a magic number) they
will prove considerably similar to "the five points in magic" that
I analyzed in a book of that title. I have just divided the point
called "hands" into three elements: fingers, hands and arms; I have
brought the points of "body" and "feet" together under the single
element "body"; and I have added the element of "attitude".
3) The first two elements, fingers and hands, comprise what is gener-
ally understood as "technique". But I will use this opportunity to
indicate that the arms are often forgotten when discussing tech-
nique. People would say, "He's a good technician," when referring
to some magician who has mastered his "fingering" and, perhaps,
his "manipulation", but who blatantly fails to exercise the potential
of arm motion or doesn't make appropriate use of it. Though in a
much more general way, we could refer to the necessary technique
for the good use and mastery of the other elements. Slydini was a
great technician, although his magic was hardly based on dextelity
of the fingers. The same could be said of the corporeal technique of
Fred Kaps, the gaze management of Albert Goshman, the voices of
Max Maven and Eugene Burger, and the attitude of Frakson.
When I speak of synchrony, we should take it for what it really is-
the coordination of several elements in time-and not confuse it
' with mere "simultaneity" (som~ elements go before or after others (j
in time).
Opportune Moment (Opportunistic Timing)/
the function of timing to synchronize these element~, but that syn-
nization must take place at the right moment. Not before. Not after.
what is the right moment?
Let's attempt an analysis of its characteristics: The opportune moment,
mporary support of magical timing, allows the existence of a drop in
ctators' attention to secret actions.
We know there are strong beats and weak beats in the procedure of a
k. The alternation between them constitutes the rhythm.
We are dealing here with a technique involving the fingers, hands or
s that we wish to conceal within the weak beats of attention paid to
se parts of the body; when they appear less important and are less
e, when they don't "telegraph". Thus, attention will fall lightly, if at all,
them, making it the best moment to execute a secret maneuver. We
h, then, to make that secret maneuver match a weak beat in attention
the hands or arms.
But weak or strong is not an absolute condition but a relative one.
omething can only be strong or weak when compared to something
e. The degree that a beat will be, or will feel, weaker depends on the
~trength of the beats that come before and after it, especially those that
~ome immediately before and after. The opportune moment then will be a
wearo moment ( of the hands, for example) that is preceded and followed
y a strong moment, or is made to fall between two strong moments. I
'remind you, the stronger the beats that come before and after, the weaker
;i:he opportune moment will appear.
At first it would seem best that, at the same time we perform a secret
maneuver on a weak beat of the hands, there should be strong beats
from other elements (the voice, eyes, body, attitude ... ). That's why, as
N
beginners, we tended to raise our voice or make a strong body motion
we executed a move. Curiously, experience and the masters have tau
us that this natural impulse isn't correct. The moment the move is m
should be weak in all elements; consider Slydini's lapping moves, Vernon
pass.es, Rene Lavand's palms, Frakson's and Cardini's loads.
I believe the right time for a secret move is at the general we
moments, when the spectators lower their level of ~ttention. There see
to be a moment to rest, so they take that moment to relax or to think
what they saw or are seeing; that's when they release their contained an
sustained energy; it's a break from their prolonged state of alertness
being on guard, which magic invokes.
' ention and will even forget the existence of such a pause. No record of
And at that moment all their conscious selves, their senses, temporar-
ily relax their supervision. We are in the domain of a sort of misdirection
or mental distraction that doesn't actually divert their attention (unless a
blurring question has been posed, Ascanio style; which is a magnificent
technique, too, of course!). Instead, it diminishes their general level of
attention. It's a blink of the brain, a mental blink, and then Wham! Exactly
at that instant, at that opportune moment, Wham!, the secret maneuver
takes place and the spectators' brains, momentarily relaxed, don't read,
don't register, those actions and therefore don't fix them in the video
recorder of their memories, because it is on pause.
This is, then, the moment good opportunistic timing exploits to insert
the secret actions, performed with good synchronistic timing (opportunis-
tic and synchronistic: the two types of timing that constitute good magical
timing) to create or increase misdirective distraction.
But before that, just before the weak beat, to make its weakness even
more evident, there is a strong beat-as strong as possible (a tense voice,
a direct question, a sudden, unexpected turn of the gaze). And then a
nal to indicate that the strong beat is over, that we're taking a rest (mouth
closed, relaxed eyes and body, resting attitude ... ), so that the spectators
can, in turn, relax and take a break from their attentive observation of
the magician and his actions. And that's how the weak beat is born, either
because they share the break or because they concentrate, sometimes in
search for answers, in the joy and pleasure of the marvelous
acle just experienced.
To be a little more precise, let's g_o back to what should follow the
k beat, the opportune moment, during which the secret maneuver was
de. Let's say it should be· a new strong beat that increases the sensa-
of a very slight pause produced by the weak beat and that, resuming
1
ntion (implying that attention was maintained) urgentlr summons the
ctators' minds to continue their observation.
Of course, the longer the "pause" needed, the stronger1 the strong beat
ould be. In this way, spectators will promptly and surely recover their
existence of these pauses will remain in memory and, after the effect,
ing the pause for assimilation, the spectator will not have the solution
f "Of course! When I relaxed and stopped paying attention, something
appened that I didn't observe." If a record of these pauses remained,
e would have concealed the secret, but we wouldn't have managed to
elp the spectator follow The Magic Way and reach The Magic Rainbow,
our maximum aspiration: the convergence of all elements of magic cover
(technique, misdirection-distraction and magical timing), dramagic struc-
ture (the emotional incarnation) and presentation.
The structure is: strong beat / weak beat ( opportune moment as brief
as possible) / strong beat (proportional in strength to the duration of the
weak beat).
So the perfect synchronization of the seven elements among them-
selves is the task of synchronous timing. Opportune timing must achieve
the perfect coordination necessary to make the secret action match the
weak beat, and the non-secret actions precisely delineate the strong beat
and the end of it, the weak beat and the new strong beat. The conjunction
of both is what we can call magical timing.
Gags, in-transit actions produced on a weak beat that announce a
strong beat, rests after the apparent ending of a trick (the end of the chap-
ter) or apparent but deliberate unimportant accidents (I drop something,
I bump into something, I can't manage to turn over the card on the table
N

a mat)-these are some examples, perhaps the dearest and\rn weak beat) should be precisely drawn to make sure the
important, of structures that can provoke opportune moments. ectators relax their attention.
But there are differences between them. For example, a gag canies
Structures opportune moments:
strong beat in itself, followed by a weak beat, laughter. Thus, it needs
Those that implicitly carry the needs of the beat trio: gags, in-transit
be followed by another strong beat added by us.
tions, apparent accidents, a pause after ~n apparent entj.ing, etc.
An in-transit action, in turn, carries a weak beat in itself, which is fol.:
lowed by a stronger beat: the expected objective of the main action. So I'll finish here. I think it's the opportune moment.
we need to add a strong beat prior to the action, in addition to boosting
the strength of the final objective as much as possible. The subject, of
course, remains open. How could anyone close a subject of such interest
especially when talking about art? '

Recap
I would like, even at the risk of seeming stubborn and repetitive (and I
am), to sum up the subject as follows.

Magical timing:
Magical timing consists of synchronous timing and opportune timing.
Synchronous timing:
Strives to synchronize the seven elements-fingers, hands, arms,
body, eyes, voice and attitude-to make them efficient in their function
of concealment.
Opportune timing:
Deals with having the secret action take place at an opportune moment
for its total concealment.

Opportune moment:
A general weak beat in the presentation, preceded and followed
strong beats.

Beat trio (strong-weak-strong):

The weak beat should be as brief and as weak as possible. The strong
beat after the secret action should be proportionate in strength to the
duration of the weak beat. The ending of the first strong beat (and the
 PATTER

Patter (A First Approach)

fhe patter. The spoken text. Boniment. Charla. Whatever. The words that
accompany the trick-that's what it is.
Or is that what it is? Is it just that? Is that it? Is that it?
What about sounds, noises, music, little screams, interjections, mum-
bled or unintelligible words? ...
We will deal with all those and others. They make up a whole, hardly
divisible into parts. They make up what we could call the soundtrack
of a trick, routine or act. The term soundtrack comes from one of the
favorite sons of magic-illusionism: film. And it sounds good. (What a lousy
sooodtrack it would be if it didn't sound good!)
And all of that sonorous whole should be a harmonic whole. Heard on
the radio or audio-recorded to be heard at home, it should be at least an
interesting soundtrack. One to which we would enjoy listening. If it's also
clear, if it's also beautiful, if it's also exciting-so much the better!
And from this comes the first idea, no less valuable for being an old
one, well-known yet still very useful and wonderful: audio-recording our
N 041
perlormances and listening to at analyzing
them, then trying to improve them.
Keep in mind that almost nothing I could write here, or that Nelrns
wrote in his book, or Ferragut in his articles, or whoever talks or writes
about patter, will be of much use for our act unless we make an active
effort ourselves to improve our own patter.
By recording ourselves we will learn, because every mumble, hesita-
tion, strain, inaudible word, hackneyed phrase, complicated construction
psychological atrocity and point or period of low interest will stand out as'
we listen. Sometimes we'll hear the sloppiness of the patter, at others we'll
suffer the tedium of listening to it over and over-unless our patter is mag-
nificent or perfect or nearly so. Otherwise, we will hear a lot of "Eh ... , well,
then ... , and now... , you understand? This ... , add to digits of the numbers
that ... , I mean, the two digits of the quantities that ... , and it seems incredi-
ble ... , I don't want to force the card on you, please choose freely... , I put this
card over here and when you do this, that happens ... , Isn't it wonderful?"
No, it's not wonderful. It's a way to explain without saying anything
interesting, of making words redundant with action, which in principle is
not bad and can have an informative value but, as shown above, is likely
to add nothing positive.
But what is and was the patter of magicians like? How has patter
evolved throughout the history of magic?
Let's take a quick look at that evolution.
Atmosphere and Spell
In the beginning ...
We know nothing or next to nothing about the beginning. So let's move
forward a little ...
To when thos~ who did magic (let's not specify what kind of magic),
used words and spells, sometimes comprehensible, sometimes unintel-
ligible, to accompany their magical effects, healing miracles, games or
tests. But I used the wrong word; "accompany" is not the appropriate
verb. In reality, those words and formulas were what made the miracle
ppen-"Abracadabra", "Hocus Pocus", "Mene Tekel Upharsin" and so
y others of so many types and styles: Latin, Egyptian, Mesopotamian.
metimes they used long passages, _repeated and recited continuously, (j
'th a thundering voice; other times they chanted in a deliberate mono-
ne. In any case, they had a double purpose: creating a special atmosphere
d provoking the magica~ forces to produce the desired effect.
ttention: Quickly, Very Quickly
ater the so-called white magic, artistic magic, illusionism, went one way
.and ritual magic went another.
The patter of those who perform ritual magic and religious ceremo-
nies are the formulas and long spells. Evidently they have more time at
"their disposal to achieve their objectives. A session of ritual magic can last
the whole night. A religious ceremony can go on as long as desired. The
devoted and faithful for either are just that: devoted and faithful to their
beliefs. They are, then, believers; and therefore they are patient ( expung-
ing from this word any pejorative or ironic connotation) in the sense that
they are not in a rush. They can wait.
The magician-illusionist of the middle ages who performed in the street
needed to capture the attention of passers-by and hold it for the time needed
to perform his "experiments" and, probably, sell something or win a bet
such as "Where is the ball? Under which cup?"
For that the magician needed first to attract attention with a loud,
strong voice. Second, he had to use continuous patter promising marvels
and astonishments, and that explained to those at the rear of the crowd
what was going on, because they might not be able to see the perfor-
man.,ce clearly enough. Besides being an interesting patter, it was probably
sprinkled with jokes. And it was delivered quickly. Above all quickly and
abundantly. And there we have the charlatan. That patter, of course, also
helped to distract attention from the secret.
Recited patter was learned by heart through constant repetition,
although there could be a degree of improvisation, prompted by admiring or
humorous interruptions from those close to the action, children, drunks, etc.

Verse and Music: Illustration and Emotion
On the other hand, from town to town, from square to square, from cas-
tle to castle, mandolin at the ready, the minstrel unfolded his verses and
song_s, sometimes narrating stories and legends, other times accompany-
ing his own juggling routines or those of the attending acrobat; juggling
routines that, as we know, were combined with legerdemain and demon-
strations of ability, skill and sleight-of-hand. The first manipulations.
That patter, perhaps in verse, perhaps sung, was explanatory in very
small measure and was almost always a narrative. We don't really know
which was the central entertainment: the story, tale or legend, nanated and
illustrated by leaps, acrobatics, juggling and sleight-of-hand; or whether the
acrobats' feats were the main attraction, accompanied by verse and song.
Perhaps it was a balance of the two. In any case, the patter, which
was important, no longer had the function of calling attention, maintain-
ing it and misleading. The spectators got together to watch and listen to
jongleurs and minstrels in squares and fairgrounds. They had time. They
came to enjoy themselves. They could listen more attentively. The verses
and songs could narrate legends, lyrical or epic romances, or just exciting
and interesting stories.
Again there was a double purpose: for the performers to illustrate
what was about to come, thanks to their legerdemain, and to move their
listeners with their verses, songs and stories.
Parody, Buffoonery and Laughs
The jester or buffoon, meanwhile, had moved into the castle or feudal
house of the nobility, and had to make the not-so-cultivated dominant
class have fun.
Let's r~member the typical and perhaps somewhat hackneyed image
of a medieval banquet. The noble warriors had drunk abundantly and in
excess. The jester must entertain them. Betweenjoke andjoke, there was
some sleight-of-hand trick But the jokes, the parody, the pranks, the fun
and the buffoonery went first. These are the origins of comedy magic in
its spoken form.
343
fense and Credibility
ater, having entered the theater, conjuring disguised itself in the mask of
ie~ce in order not to be prosecuted by the almost almighty ecclesiastical
ass. Conjurers worked to distinguish themselves from warlocks, necro-
ancers and acolytes of Beelzebub (life and freedom we~e at stake), and
eir patter turned scientific and pseudo-scientific. Phys~cus. Professor.
tter makes a connection with the latest scientific disc~veries: the mag-
etic properties of a lodestone, human magnetism, novel 0ptical apparatus
(the magic lantern and its phantasmagorias, then photography), ether,
clockwork, machinery, automata that move on their own and even appear
to have intelligence, Pinetti, the Great Wizard of the North and so many
others, even unto the (magical?) appearance of the great Robert-Houdin.
Now patter had two goals. Initially it was defensive, to demonstrate
that the Angel of Evil had nothing to do with conjurers' prodigies. Later
it was used to make the suspension of incredulity easier for audiences.
ft leaned on science and its discoveries to achieve an astonished atmo-
sphere, yet to be to some extent believable.
Elegance and Distinction
But it was principally Robert-Houdin who modernized patter, freeing it
from excess or what he considered excessive: tasteless jokes and exagger-
ated speed, verbosity, boundless mawkishness ("I will now address one of
the most beautiful flowers in the orchard formed by the ladies that embel-
lish our theater today"), outrageous pseudo-scientific explanations (such
as optical rays that smell like jasmine and produce the transformation of
water into wine). He thus introduced a fashion of elegant patter with good
diction and grammar, discretion, politeness and a sprinkling of pleasantries.
Even though the patter might have lost some emotion, lyricism, interest
and ability to capture attention, it still fulfilled its function and complied
with its objective: to bring magic closer to the upper classes (the lower
classes had always had it near). So other types of audiences were discovered
and attracted. Intellectuals were becoming, to a limited extent, interested
in conjuring, and prestidigitation entered the salons and theaters more and
N
more surely, displaying more elegance and dignity, to appeal to the highe
classes of society and their more discriminating values.
Psychology also entered the picture, in a much more methodical form.
Psychology had always had its function in patter, but psychological Prin..
ciples were now being applied more consciously, by Guyot, Decrernps,
Robert-Houdin and others.
This patter, I'll say once more, is less exciting,. but that doesn't mean
it doesn't carry other artistic values. Stories continued to be told, as were
jokes; and scientific plots were still exploited. Scripts were carefully con-
structed, perhaps learned and recited, but with doses of improvisation
and the occasional lyrical touch or metaphor.
Everything and Nothing
Patter continued to play a vital role through the remainder of the nine-
teenth century and the first decades of the twentieth: the "Golden Age of
Magic". But we then reach the mid-twentieth century.
Previously, patter had had value in creating a mysterious atmosphere,
for weaving a magical spell, for capturing attention, for its skillful use of
psychology to deceive the mind, for illustration, for evoking lyrical and
epic emotion, musical value in verse and the song, for increasing credibil-
ity and therefore illusion, for narration and legend. But for a time in the
mid-1900s, patter almost ceased to exist. While there were a few outstand-
ing comedy magicians who used patter to great effect, "international",
non-speaking magic acts done to music dominated, in which magic (with
the rare exception) lost-a lot! These acts were dull, insubstantial, neither
lyrical nor exciting, without patter, either elegant or tacky. The truth
that, sometimes, at some point, it was a mixture of everything and noth-
ing, more nothing than everything.
Some Light
But, of course, at that time, there were some brilliant and luminous points.
In the middle of the twentieth century and at its end I met and enjoyed
some of them.
-The intellectual plots of Flip ("The Invisible Hole", "The Oh, Oh,
onusion, Ostonishment, Oh") and Ferragut (The Etruscan Shuffle) ...
-The philosophical plots of Adriol! ...
-The excellent.comedy patter of Juan Anton (Porompomp6n), Pepe
Regueira (Cut and Restored Rope), Pepe Carrol (The Cannibals),
I
Eugene Burger (the Gypsy Thread), Armando de Migue~ ("The Fourteen
Thousand Pesetas") ...
-The beautiful, exciting and paradigmatic scripts of Rene!Lavand ("Maybe
Some Day", and so many others) ...
-The magnificent scripts of Slydini ("The Mongolians", "Adam's Apple") ...
-The lyrical premises of Luis Garcia. And those of Ignacio Brieva (his
"solo" with a luminous rope) ....
Luckily, the scene has changed considerably. 214 New trends have arisen
jn magic, especially in close-up and parlor magic, in which patter full of
beauty, cleverness and depth is featured. There are some magnificent
examples, from the very suggestive plots of Eugene Burger and Robert E.
Neale to the very amusing ones of Pit Hartling, from the very clever ones
of Luis Piedrahita to the original and creative ones of Juan Esteban Varela,
from the classical and poetic ones of Miguel Aparicio to the profound and
philosophical ones of Max Maven ....
How lucky we are.
Logically, I can't know the future of patter or what will be in patter in the
future. But I do know what I would like it to be: a carefully studied patter
'\
that is emotional; that transmits lyricism, fear, joy, horror; that is ironic or
legendary, sweet or aggressive, scientific or fantastic .... But in any case, I
hope it complies with these three functions:
1. It psychologically helps the illusion and is in service to magic.
2. It creates an emotional atmosphere and mystery.
214. I am writing this in 2013.
 3. It expresses and communicates the inner
of the artist' More (Second Approach)
magician, as richly as possible. '
And it does all that without overshadowing the magic without b ie the previous thoughts in 2013. Now I want to look at the other side
. . ' ec
mg he~vy, without falling into being memorized patter recited mechanic coin. I will come close to contradicting myself-sorry-as I update
as delivered by a bad actor, but is lived and felt. oughts and ideas on the subject of patter, and I will use 1some more
Who's up for it? nal examples.
We'll talk again. ·

e beginning was the word.

We should not forget the magical value traditionally attributed, in
· es and latitudes, to the word. Hence the magic spell. All religions
their formulas and sacred incantations. From the "Hoc est enim cor-
meum"-which in the Catholic religion performs the miracle of the
substantiation of bread and wine into the body and blood of a god-
-to the "abracadabra" of remote magical origins, to the formulas
recitations of shamans and the "hocus pocus" (thought likely to be a
odic deformation of the preceding Catholic formula).
But let's remember how the Catholic priest recites the words "Hoc est
i'Yfi ... " His pronunciation is slow, solemn, deliberate, ritualistic. As is the

nunciation of the shaman, the pope, the healer, the prophet. Our "abraca-
bra" and "Sim Sala Bim" should be made artistically believable through our
ay of reciting them. I believe, though, that we need new words, revivified
rmulas, adapted to the magician's personality, to each of us and to our times.
An example of the power of the voice and words is the magnificent and
impressive patter (and its tone) of Eugene Burger in his "Cosmic Thread"
presentation for the Gypsy Thread.
I have written an experiment in the creation of atmosphere through
voice and ,,. spells for Gustavo and Consuelo Lorgia called "The Magician
against the Dark". In it, a voiceover, accompanied by music and sound
effects, unfolds several spells .intertwined with the magical actions that
take place in the scene. The effectiveness was ( and is) notable.

The Function of Patter

Although this may seem to contradict the opinions I expressed earlier, I
believe, today, that patter can sometimes be very simple. Just a few words
that actions show: a card. The Two of Clubs? ShUJJte
and make four piles yourself. Pick one. We turn over the top card of the
pile. It's a Seven. I count seven cards and put the seventh aside. Did yo
say the Two of Clubs? We turn the card over and it is-the Two of Clubst'
In this example, I have purposely omitted the possible uses of patter to
improve the conditions of the trick in the memory of the spectator (thor..:
oughly discussed in the previous chapter on "Mag~c and Memory") and its
useto better dramatize the trick or effect (better adjectives, etc.), because
I want to discuss the function of patter used simply to clarify the effect.
Even if my example sounds cold, bare and not at all artistic, even ifit sounds
obvious, unnecessary and redundant, I believe that is by no means the case.
Let me explain: Magic, as I have already indicated elsewhere in this book
demands an absolute concentration of the spectators' attention on anything
' Obviously, I'm not proposing that this kind of patter always be used. I
that happens during the trick Furthermore, that attention should be contin-
uous, without the slightest moment of inattention, because at the end of the
trick that would permit a possible cause for doubt in the impossibility of the
effect ("Maybe, when I wasn't looking or was distracted, he took the coins").
Spectators should also remember actions ("The box was totally empty, he
showed it on all sides"), numbers ("They chose twenty-four"), details ("There
are now two silver coins and one copper coin"), etc. On top of that, they
should observe that nothing secret occurs, there is nothing hidden, there is
nothing they don't see. It is not easy. It might even be tiring. Or worse, people
may not be able to pay attention to everything and will miss the sensation of
the impossible and fail to become immersed in the fascination of magic.
It is here that merely explanatory and voluntarily redundant patter
fulfills its function of helping the spectators. They receive the information
through two complementary means: what they see and what they hear.
And both clarify the actions. As a spectator, I see that the magician shows
the top card of the ,chosen packet. It is a Seven. And I hear, "I'll show you
the top card of the chosen packet. It is a Seven." I see him count seven
cards and I hear, ''I am counting seven cards. " I see him tum over the
seventh card. It is the Two of Clubs, and I hear, ''I turn over the seventh
card and it is the Two of Clubs!"
AnY involuntary visual distraction, any visual difficulty ("The spee-
r in front of me moved his head, and I missed something." "The coin
too shiny, and I couldn't tell if it_was silver or copper." "I am sitting
far away and can't really see that the box is empty."), is compensated
with verbal information. 1
In this case, in all oth~r moments, the double means/ of communica-
n, visual and auditory, reconfirms what was witnessed. ;tt clarifies it and
cords it more firmly in memory, which will help, without a doubt, for
er feeling and enjoying the magical effect. And isn't that the fundamen-
objective of our art?
So, I think this kind of patter, apparently redundant and hardly subtle,
215
sometimes very artistic. It makes people feel the art of magic.
convinced that its abuse can make the presentation of a trick unbear-
bly monotonous and confusing. And what I've said doesn't prevent
tter from carrying occasional components of literary beauty and quality,
hether it be in the words themselves, in the story or in the significance of
e narration. When the actions in the procedure of the trick are visually
ear and direct, they may not need patter, although music, perhaps, might
added. Other actions may increase in fascination as a result of a meta-
216
phoric, poetic patter, without it interfering with clarity.
215. Something similar happens in film. Dialogs of great literary beauty (like
those in French films of the mid-twentieth century by Michel Audiard and
others) revealed themselves as anti-artistic because they fought against
image. Sometimes the best dialogs in film are: "Hi. Haven't seen you for a
while. Look at these flowers." When Renoir read a script with dialogs that
""touched him deeply, he told the author, "I'm not doing the movie. Publish it."
216. The patter premises of Rene Lavand, thanks to his poetic recitation, some-
times have a function of sonorous, almost musical, accompaniment, in
addition to the meaning of the words. Proof of that is the strong emotion they
produce in spectators who don't know a single word of Spanish. On the other
hand, we have all felt great emotion with the patter premises and phrases of
the great Rene that, if put into writing, seem almost banal and cold: ''It can't
be done any slower." ''And I still have three breadcrumbs."
 350
Patter That Creates Rhythm (a Personal Example)
As I've explained in the section on Rhythm, I found when pe:rfo .·
Oliver MacKenzie's "My Drink Trick" 217
that I could not trul ·
Y Incre
the .rhythm of the successive Buckle Counts. The actions have a ph •
spee d r1m1t.
· But I wanted to accelerate the rhythm of the presentation.81
Y There is a pause as the cards are turned over after the;appearance of
figured out that, when I increased the speed of my speech, the rhythm
the. effect seemed to increase. It only appeared to increase, since all t
counts were executed at the same speed.
To increase the speed of my diction in a natural way, I progressive
increased the number of words in the same time interval, the time it tak
me to do the Buckle Count.
Here is the patter I use:
1. Here I have one, two, three andfour blue cards.
2. If I tap, an Ace appears.
3. If I tap once more, I get another Ace.
4. If I tap a third time, I get another Ace.
5. And if I tap a fourth time, the fourth Ace appears.
6. But if I now tap once again, it transforms into a King.
7. If I give it yet another tap, if transforms into another King.
8. But if I give it yet another tap, it transforms into yet another
King.
9. And if I give it afourth and last tap, it transforms into the fourth
King.
10. Sometimes they ask me, ''But, aside from Kings and Aces, could,
they turn into ... ! don't know ... Jokers?" Jokers? What do I know!
(Pause. Generally applause.)
11. I see them all red.
12. Well, I see little birds.
13. Little red birds? No, little green birds.
14. Well, all I see are roses and other flowers.
15. And you? What do you see? What do I see! I have no idea what I
do see or what I don't see ....
------
217. Seep. 296.
;:351
you can see, there is a progressive increase in the number of words
first ten counts. The counts therefore appear to be done faster and
r,due to the increase in the spee~ of my diction, as is necessary for
n
to say the words in the same amount of time.
Joker. The last four counts also increase in rhythm lea4ing to the final
ax: "What do I see?" I put the cards away and get off i:ny chair mum-
"1 have no idea what I do see and what I don't see.: .. " initiating an
' I
that always brings applause, applause that is surely relaxing after the
y produced by the patter and my actions. 218
This is only one example of the potential of patter.
provisation (Personal Applications)
e above example, as well as the ideas I am about to explain, are strictly
rsonal and their only value is as examples of practical applications to a
le, my own. I am publishing them just in case they may contain infor-
tion useful to you.
I never write out my patter. I don't want to memorize patter. It would
ow. I am a bad actor. So I try to have a very clear connecting thread,
ich I then improvise on. Repetition of the trick, performance after
.erformance, leads me over time to learn almost identical phrases. I try,
ough, to alter each phrase every time, except in verbal gags, which
require extreme care in the choice of words, rhythm, pauses and inflection.
For example, when performing Six-Card Repeat, I introduce the trick
ysaying:
"We were in Malaga, magicians gathering at a convention. It was ...
two months ... no, three months ago ... and we spent a wonderful night
218. By the way, I leave all the cards except the last four-those with fantasy backs-
in the outer breast pocket of my jacket or shirt. I bring my hand with the remaining
four cards from my pocket and give them to someone. When the nearly exhaust-
ing patter ends, along with the no less exhausting rhythm of actions and the
fourteen(!) visual effects, there is a release of tension that completely prevents
the spectators from noticing that I put the cards briefly into my pocket. So they
usually stay and look at the cards and feel them, truly a-ston-ished.
 was a young thirteen years
crystal box filled with handkerchiefs, and he transformed them into lit
birds ... a wonderful night. And there was a beautiful lady magician.
and we spent a wonderful night together, too .... I mean, thinking oft
handkerchiefs and the little birds. And there was ... "
But on another day, it might come out like this:
"The magicians gathered together two weeks ago in Valencia ... an
we spent a wonderful night together . There was a young magician .. .
must have been, I don't know, eighteen, no more. He showed three cloc
and transformed them into Iberico hams ... a wonderful night. And
was a beautiful lady magician. We also had a wonderful night .... I mean
speaking about clocks and eating ham. Eh? And there was ... "
On a third day it could be this:
''A year ago, last summer, we had a convention of magicians. We get
together once a year.... It was in Huesca and we spent a wonderful night
together. There was a very, very young magician, almost a child ... ten
years old or so ... who had a box full of shoes for the right foot. He threw
it into the air, and when it landed it was full of shoes for the left foot!
wonderful night. And there was this beautiful lady magician. We spent
a wonderful night together, too .... I mean trying on the shoes and all
that ... no? And there was ... "
The details of when and where the convention took place, as well as the
young magician's effect and his age, change. Sometimes I just pick one from
several I have used before; other times I make it up as I go. My point is that,
by having to choose, remember and improvise some of the facts of the
naturally show some hesitation, some effort in remembering. That way, I can-
not make it automatic. The patter comes out sounding fresh, spontaneous.
I only repeat some phrases ("We spent a wonderful night together... ")
the same way every time. They are verbal gags and have just the right
words and pauses, which I have internalized to produce humor.
adapted them to myself, fine-tuned and tested them through experience.
cannot change them without running the risk that one day they will work
another day they won't. But they are brief, and it is not noticed that
eat them the same way every time. Or it shouldn't be noticed. Facial
· ns and inflections of the voice
·ress10 - help me maintain a conversational ,.....
\ .1
219
confidential tone, distant from a memorized one. .
By the way, the joke about the beautiful lady magiciflll and the won-
l night we spent tog~ther also serves as motivation ~or a gesture that
nceals a secret action. I mold a spectacular woman's;' figure in the air,
inning with my hands at shoulder level and bringing them down as I
ax and continue the motion of my right hand toward the back pocket of
y trousers, from where I secretly remove, always relaxed, the seventeen
ra cards I will add to the six a spectator has been holding.
My particular technique for developing patter is this:
1) Never write it down.
2) Never learn it.
3) Rather than studying it or creating it cold, I usually· improvise it
(usually, but with abundant exceptions) during rehearsals and suc-
cessive performances. I gradually construct it by accretion and
repetition of improvisations. Making an audio-recording of the per-
formance is very useful for this.
4) I follow a carefully considered connecting thread and try to have
very clear in my mind what I want to say, what I intend to express,
communicate and make people feel.
5) I improvise on it and vary the phrases as much as possible.
6) I gradually fine-tune the lines for verbal gags. I repeat those the
same way every time, except for slight improvements.
There are unquestionably many different and fantastic techniques for
developing patter. Rene Lavand was an absolute master in this, as was
219. There is a curious thing regarding the techniques discussed about improvising
over a structure or connecting thread. In some storytelling techniques, like
that of the admirable storyteller Francisco Garzon, you also improvise over a
connecting thread; but in these cases it doesn't matter, perhaps it's almost the
contrary, if the inflection of voice and the gestures separate us from a strictly
conversational tone and bring us closer to a tone of stage narrative.
Slydini. Max Maven and others also have magnificent techhiqu
The important thing for me is to be aware of our final and artistic obje
tive, to have it clearly defined and to adapt the patter-and the rest
the performance: the tricks, gestures, attitudes-to this objective and
our styles, tastes, personas, so that we enjoy the patter as we make it u
when we write it (if we prefer) and, above all, when performing. And th
we try to say our lines in such a way that, when combining them with th
actions of our magic, they don't seem artificial, but rather it is noticed tha
they are felt by us and are true artistic expressions of ourselves.
 THE SEVEN MAGlC VElLS

HE veils that cover magical mysteries are seven.

Magical mysteries and those artistic aspects that are felt by the audi-
nce despite the spectators being unaware of the existence of the veils.
And are felt without knowing why.
And this, not knowing why they are felt, their being unknown· is, in
ach of the seven cases, a true magical mystery.
Feeling, not unveiling, those mysteries is to dance to the true perform-
g art of magic.
Let's talk about those veiled mysteries.

The Mystery of Love for What You Do

The love of magic-it's useless if it's not passionate. You train, you
:rehearse, you study, you read, you talk, you dig deep into magic, with-
'Out obligation, without an objective, for its own sake, for affection, for
communicating with other magicians (men and women who enjoy and
fove magic as we do). And that love for what you do, for our craft, for
the history of our art, for those who devote themselves to it, is perceived
 358
by the audience. They enjoy seeing our love for what we present. The
immerse themselves in that joy, that love, that passion. They find the
selves enveloped by all of it, and they also love what they see!
Why do they perceive it? Why can they distinguish the artist who lov
' ~
what he does from another who, even when more skilled (apparentl )
' y
than the former, doesn't touch them as deeply with his art? How can the
spectator know all that without anyone telling hirn?
'It's a mystery. (Only Frakson knows it.)
Second Veil
The Mystery of Effort
The more you love what you do, the easier it is to devote more constant
and thorough effort to it. Effort to rehearse. Effort to learn. Effort to train
to fine-tune, to improve, to perlect-yourself.
If I perlorm a trick I bought, the secret of which relies on something
mechanical or on the creator's clever, perhaps even marvelous, ingenuity,
but the method demands little or no effort from me, no matter how won-
derful the effect is, the spectators can feel (and I don't know how) the
lack of effort on my part. They sense an absence of dedication and they
don't like the trick as much. They don't feel it as much. They don't love it
as much.
But if I have devoted time, energy, enthusiasm, effort, hard but joyful
work, to the technique ( digital, corporeal, psychological) or to the emo-
tional structure or to the patter and its adaptation to my personality, even
though the effect might appear the same as ( or even inferior to) that of
another trick to which I devoted no effort, the spectators will like the first
one more, they will feel it more and they don't know why.
The amount of physical, mental and emotional effort, the intensity
of energy, the concentration, the time spent, the rehearsal, the research
and dedication put into a trick, give that trick an energy that the spec-
tators perceive. It makes them feel it more and like it more and enjoy it
more. Why?
It's a mystery.
,,,.
359
~e Mystery of Knowledge and Wisdom
n
1 do a trick and I know who invented it,· if I know the evolution of the
ck, its variants, its versions, if I know who has performed it, if I have
und out about its author or authors, then when pres1nting it (I don't
ow why), the audience· senses my knowledge of that trick and it affects
em more deeply.
The same thing happens with the entire session. If I kJ;low more sleights
- ~ the ones I use, if I know more tricks than those I perform, if I am versed
:fu more branches of magic than the ones I show in that session, if I know
more magicians, if I have witnessed more sessions, if I have read more books,
;lf l have attended more conventions, if I know the history of magic and magi-
' cians in depth, all that knowledge, all that undisplayed wisdom brings depth
~d artistic authorship to the trick, the session and the magician.
How do the spectators know that I know?
I don't know. It's a mystery.
How is the vital energy of the magician transmitted? How does it reach the
spectators? I am not referring to the rhythm or the speed or overacting or
screams or false attitudes, postures and exaggerated actions. I am referring
to when there is an inner energy that comes from and is transmitted through
the solar plexus to the spectators (yes, we know this, but how?), and it hits
them and embraces them and moves them and makes them vibrate.
~ Where does it originate? How is it transmitted? Is there an intellectual
energy, a physical energy and an emotional energy? How are the batteries
of those energies charged?
I know that eating well and sleeping well help, as do being cheerlul
and relaxed and confident. Health is essential. And I should be intellec-
tually clear, not muddy, and I should park all negative emotions. I should
concentrate on thinking, feeling and acting with all my intensity, with all
 my enthusiasm, with all my to transmit strongly and poWerfuII
the love for what I do and my deep knowledge of it. Then, and only then
can I make the audience explode with heartfelt applause, unloading the'
excess of the powerful, almost physically unbearable energy received
from the magician.
But, once again: How do we transmit this energy that you can almost
touch but can't see? Waves? Vibrations?
· It's a mystery!
Veil
The Mystery of
The most essential thing in the art of deception is truth. That's the great
paradox. The truth of everything above, of the previous mysteries. Truth
in the love of what you do. Not that "it seems as if" but that it "is". Truth
of the knowledge, not apparent knowledge, not invented knowledge. (If
I perform voodoo and speak of the phenomenon of voodoo, I should be
informed about it. I should have read about it and have become truly
acquainted with the subject-in order to tell the truth of what I truly know
about the possible truth of the subject.)
And true, not pretended, energy, and true joy; not a stereotyped smile.
Truly feeling the magical effect. Even though the phenomenon we present
is not real, the emotions that resonate with it and that we feel (magician and
spectators) are indeed real; and that's the artistic truth, which is so easily
perceived, or missed, in the closeups of the face of the magician on television.
We also have a strange half-paradox: The better the performer-the
more expressive he is, the greater his capacity for communication-the
more easily he will betray that he is acting. If he fakes it, it will be noticed
that he's actually sad but wants to feign joy. It is easier for him to commu-
nicate sincerity and truth when they are genuine.
Artistic truth should be present in the smallest details.
I used to joke, "Show the card. I don't want to see it. Other magi-
cians blindfold themselves. I don't need to, " and I would take off my
thick-lensed glasses.
But when I was operated on for cataracts, my myopia was corrected.
ow I ·can see almost perfectly, with only slight astigm.atism. I had to
rn~ve the gag. The audience would still laugh at it, but the line is no n
nger truthful, and because of that, the audience would no longer laugh
the same way; they would feel a certain lack of truth.
The truth applies to the whole of our art, to the truth !of style and the
th of personality. (Out, copies! Out, rip-offs!) Regar~ing the truth of
e magician's personality-the most important thing df all-if there is
jiurnbleness it should be genuine; if there is charm or fascination, those
J!Ualities should respond to the truth (the artistic truth) of the magician
ene Lavand); if there is comedy or humor, they should be features of
e magician's persona (Gaetan Bloom, Topper Martyn); if there is dance
drama, they should be lived by him (the Pendragons; Richiardi, Jr.);
if there is a certain atmosphere, it should be felt as true (Luis Garcia); if
there is inner poetry, it should be authentic (Finn Jon); if there is joy or
love, it should be real (Frakson).
The best vanish is that of making pretense and inauthenticity disap-
.pear. The audience surely feels this and perceives it. But how?
It's a mystery, isn't it.
The Mystery of a Rich World
How can the audience know that the inner world of the magician is a rich
one and is, therefore, full of interest? How does the audience.find out that
the magician is cultivated (and not simply knowledgeable), that he has
experienced pain and passion, joy and love, fear and sadness? That he has
fought and lost and fallen and then recovered? Or that he has studied and
analyzed and reflected? That he has his own ideas and personal concepts?
That he is grounded and feels nature, that he has developed an inner spir-
ituality, that he has delved into other allied arts; and that, in spite of it all,
he is not free of contradictions, he still has doubts and hesitations and is
therefore deeply human and a worthy member of mankind?
N

How do the spectators of a show know all that (and much mdre).
know that they know, but I don't know how they know it.
It's a deep mystery.

~ Seventh Veil
The Mystery of Love

But there is a love different from that of the art: the love of the person..
alities of the spectators. For the people who are there to see you and
enjoy and feel and have fun. Who return your love. And I'm not talking
love in uppercase, literary or grand. I'm referring to affection, of human
sympathy (so many problems, sometimes so much pain) in artistic joy, in
the immense pleasure of sharing the experience of the impossible, of the
spectators' sympathy and empathy with the personality of the magician,
with that man or woman who produces and transmits the extremely beau-
tiful emotion of art.
And that's how this sending and receiving of energy and emotion and
affection and play and joy are mysteriously transmitted. It's making love
with the audience. And that's the great act of love that a magic session is.
Love for the audience, love of mystery, love of the magician-and back to
the beginning-love of magic, love for our fellow human beings who are
the spectators.
The mystery of love and magic.
ON MAGlC ENERGY
A Minimal and Impossible Attempt at an Unveiling
ere is a magic energy, the energy of the magician. It is born within the magi-
ian and provokes an explosion of his artistic attitude. It is generated (and
ow could it not be?) by his love and relentless passion. Desire or enthusiasm
is not enough, I think Fire! Fire is what the artist, creator or interpreter (that
is to say re-creator) needs. An artist-volcano. Magic energy bursts from him. It
produces earthquakes in the emotions, tremors in logic; it moves oceans with
amazement and produces giant waves of illusion, joy and mystery.
Explosive energy ( or contained energy that is nevertheless perceived
and felt from the outside): artistic tension. It manifests sometimes as a
subtle, lyrical fumarole that only appears to be slight; at other times it is
concealed behind the playful mask of laughter, to avoid possible first-de-
gree bums; yet it always allows the inevitable explosion of magical energy
from the magician-volcano.
And light. Luminosity that shines in the eyes, that throws a sparkling
glance. Magic beacons.
 a roaring, silent in the beginning, announcing explosi
the magical mystery, of the secular miracle-of the impossible made Pos
And, once again, that magic energy is transmitted through a sp
binding glance, a rigorous and charming word; hands that conjure; fi
(bases and pillars) that support, that give assurance; and above all, ab
that burns, and shoots the energy through the appropriately named so
plexus, like the Sun King, burning bright, powerful, almost danger
Arid through it the magician delivers his irrepressible and powerful wav
of magical energy. From then on, it's on fire.
And if magic energy is born inside the magician, thanks to his passio
(for magic and life, Isis and Eros), and if that magical Big Bang creat
and vomits stars and suns of illusion, comets of enchantment and galaxi
of impossible and exciting mystery, then, and only then, do the burni
flames ignite the hidden and sometimes ignored torches in each of t THE LlTTLE MONKEYS
participating spectators, active contributors to the deeply beautiful m ·
rite; and then, and only then, does it scorch their spirit and produce th
About a Wonderful, Superb, Endearing
exciting miracle of the fire that doesn't bum, of the brilliant light that
and Unforgettable Show
doesn't blind, of the fabulous inner explosion that doesn't harm; rather haven't talked about them for a long time. But they are always pres-
the opposite: fire, joyful light and explosion, an unparalleled experience . nt in my thoughts and in my heart. They have given me such wonderful
The emotion of the art of magic and mystery. oments! I've had so much fun, laughed and cried so much with them and
or them!
Secret
The thing is that, of all the many shows in night clubs, circuses and
Passion (of course). 'variety shows I have seen over the last fifty years, either live or on tele-
'vision, here in Spain, in London, in Paris, Italy, Las Vegas, Buenos Aires
or New York, they, the little monkeys, have been the best of the best. The
tnost amazing and also the most emotional. Can you remember them? The
tall trainer, with his gorgeous mustache, his bright and colorful outfit, his
benign gaze and broad, warm, wonderful smile. And they-the little mon-
keys-"The Seven Little African Monkeys". That's how the troupe was
billed. Seven monkeys: five males and two females, absolutely marvelous.
How could you forget the little jokester monkey, the teaser? (Willie?) He
hid the trainer's stick, pulled his mustache and hung paper puppets on his
back! And what about Marco, the big guy, ruffian-like, cocky, kind of a tough
N
guy, always in disagreement with the trainer, always arrogant, except wh
near the end, the other monkeys expressed their friendship to him by 1
ingly extending their hands! How could you not be moved when thin ·
of Suzie, the serious female monkey, studious, disciplined in her ex~rcis
ready to react to any gesture of the trainer and probably in love with ·
The same happened to the fascinating Silvinne, even though she disguise
it; her glances, her nervousness, her embarrassment, when he lovingly p
ted her, betrayed her! How could you not fall in love with Silvinne, pla
and flirtatious, with her languid glances, her mischief between jump and
jump, and her winks between stunts and somersaults! The trainer also
loved her and suffered because of her feigned disdain, and was jealous-it
was evident-of her continuous flirting with the spectators.
Sure, they were a troupe of little monkeys that did things similar to
what other monkey troupes did before, then and after. Similar: the exer..
cises; the jumps that, incidentally, were amazing, marvelous, incredibley
the five somersaults; the final twist. They were fantastic!
But what distinguished them ( didn't it, Pepe?) and made them differ--
ent was their "humanity", the sensation of being in front of a trainer who
had a different personal relationship with each of them, who took care of
them, who taught them, sometimes maybe dominated them, but always,
and no one can deny this, he loved them, adored them.
And that's where I think their secret lies. They were admirable and
endearing. Their relationships transmitted life. They transmitted emo-
tions. The lazy Slypi, a living yawn, a hopeless vagabond, slow in his
exercises, nonchalant, indifferent to the applause of the audience, caring
little about his trainer's orders. He made you nervous. You wanted to poke
him, stir him up. Sometimes he made you angry, but it soon passed when
you saw him smiling, so pleasantly leaning on the shoulder of the
such a nice guy, such a bon vivant.
Aside from amazement, there was emotion. The surprised "Oh!", the
almost yelled "Ah!", when Amadeus, the clumsy one, slipped and fell; the
tender "Mmm" for Suzie; the irrepressible laugh with Willie; the trainer
getting upset and the heartfelt, emotional applause at his last glance,
of justified pride, beaming with satisfaction at the exercises of his
e monkeys, of his Willie, his Suzie, his Silvinne, his Slypi, his Marco,
.Amadeus and his Chento, the little tightrope-walking monkey who
tched them from above.
You vibrated with their performance. You were amaze/d and touched
ost to the point of tears. (Didn't Suzie almost considet suicide when
.e was scolded by her beloved trainer?)
But-and this is as important as the rest-this show remained and
ains an indelible memory for us, because it was amazing and at the
e time tender. Because it was a marvelous act of skill and proficiency,
d because it was a fascinating, enchanting, charming and endearing fam-
thls celebrated troupe, "Don Jose and His Seven Little African Monkeys".
' Wasn't it something unforgettable?
Right, Ifiaki (who came with us and took a deep breath)?
Wasn't it like a dream?
d that's what it was: a dream.
Let me now make a confession. I am about to reveal something very
timate: I haven't seen the show with the seven monkeys.
Never heard of them.
They never existed. There was no Willie, no Suzie, no Don Jose the
But I dreamed of them.
I saw them in my imagination.
They filled my mind and my dreams with a real unreality.
I have seen them and enjoyed their somersaults (five of them) and
eir adventures, their evolution and their relationships with Don Jose.
I have witnessed the mellowing of the temperamental Marco, who has
been losing his aggressiveness over the years; the transition of Willie from
joke to satire (sometimes he goes too far); the charm, slightly ridiculous
nowadays, of a somewhat withered Silvinne (the years take their toll),
,perhaps more endearing because of that, and certainly not disdained (will
all this end in romance?).
 Sometimes-only sometimes-very seldom-I have talked ab
them (Pepe Carrol and Ifiaki Brieva kept the shared secret well for
Don Jose's troupe shows how I think our magic tricks could be.
And how our relationship with the objects we manipulate could
the balls, the knives, the ropes (Ifiaki with his lyrical act of ropes
black light), the.rings (Pepe Carrol with his spellbinding Linking Rin
the cigarettes (Frakson with his dialogs with invisible cigarettes: "Vi
mon petit, here ... here-come on ... now.").
There, the inspiring source finally came out: the master of magic-lo
Mr. Jose Frakson. He used to say, "We should talk to the cards tom
them rise in the houlette. We have to feel they are our friends, tell the
nice things, love them. The audience will also feel it and love us."
Frakson was not a dream, although he deserved to be.
And I think this can be done with all our magic. We could individu
the balls, know them, give them names; or the knives, the red one alwa A BEAUTlfUL PROFESSlON Of LOVE
complaining, the white one untamable, that blue one, sweet and always co
placent. We could feel the objects, animate them, giving them a soul. Th
He who doesn't work while singing his desires is lonely, exploited,

playing cards: that Ace of Spades, a little boastful and so big, the belove
Queen of Hearts (my favorite, a symbol of so much), those proud Diamon
the surprising and crazy Jokers, sometimes hypnotizing, other times creatin
coins and money to the tune of a harmonica, always magical and ornnipr
ent. Feel how the Queen of Hearts blushes, notice how the ambitious Ten o
Diamonds rises, observe how the four cannibals engulf the poor Jacks, hal11
livery and all. Wish, nervously expect, believe, that the imagined card (per
haps the tender Three of Hearts today, or maybe the fragile Two of Clubs)
turn itself over and show its face amongst all the other cards' backs.
To feel, after all, a fraternal relationship with cards, dice, balls
handkerchiefs, to know their wishes, their frustrations, their illusions
delusions, to fill Ourselves with their presence, to feel the beating of the·
hearts, to know their surrealistic whims, to impregnate ourselves wit
their authentic, mysterious and beautiful magic ....
Don Jose and his seven African monkeys remind us of this every night,
in every dream.
and no false happiness of other lives will be able to compensate him.
-Antonio Gala
live what you love. Intensely. And play. Joyfully. Being able to devote your
e to researching, to learning, to reading, to experimenting and to creating.
To give over your hours to fine-tuning and perfecting the instruments
will use for your great moments of communication.
.Your best moment, your most rested time. Your more productive
urs. Your entire time.
Without rush, without anxiety. For the sheer pleasure of looking and
leling. And to feel that you can communicate and express through what
like, through what you love.
To feel that others look for you and find you through your creative work
feel and experience that you live and you are filled; that when you are full
u surr:ender, you irradiate, you transmit; that you recharge again when
unicating, the communication increases and you express yourself;
~t you tell yourself; that they listen, they listen to you and understand.
N
That you melt. That they love you.
Living as you live your sessions.
Living as you live your rehearsals.
Living as you live your creations.
Through playing.
From innocence.
From imagination.
From the festive joy
that comes from your fingers.
Through mystery.
Through amazement.
Of surprise.
Of the impossible made possible.
Through the granted wish.
Through escaping, free from ties
and chains.
Of creating from nothing.
Of giving back to the nothing.
Of transforming, and foreseeing,
and multiplying.
Through the dream come true.
Of flying and levitating and rising
and ascending.
Of mastering chance.
Of to be or not to be.
Wishes, dreams, symbols, myths
come true.
Lived poetry.
And the craftsman's pleasure.
And the taste for the trade mastered
or soon to be.
Or the satisfaction of delving deeply
into knowledge.
the joy of finding.
the divine pleasure of creating.
With beautiful little pasteboards -
or with humble matches.
With symbolic threads
with simple paper and pencil.
With innocent thimbles
or with not-so-innocent coins.
With everything mundane: handkerchiefs
and doves and rabbits;
or with everything unreal: rings,
strange boxes and unicorns.
Flirting with some audience,
having an affair with that other,
talking with a third one
and falling in love with all of them,
making love with all of them.
Filling yourself with the electricity
produced by the sleight you have mastered,
after long work and loving dedication,
thus achieving the impossible effect
of that surprising transformation that,
along with this impossible vanish,
.constructs this mystery that produces the emotion
of the shared and vital,
fascinating and joyous, magical moment. Erotic.
~ Find out where to place the forefinger,
how to bend your pinkie, what gesture to make,
how to cross the gaze,
what words to say and their intonation.
What rhythm to keep, what tempo,
what cadence, what coordination to attempt,
what subtle psychology to introduce,
N

what presentation to enrich, this is

what misdirection to use, vvh~t the professional magician lives.
what atmosphere to create, (With all my love
what inner construction to build, what improvement, to those who are not,
what variant, what adaptation to your personality to achieve, to those who are,
what to communicate, to those who will be,
how to express, how to express yourself.... to those who at some point have been,
How to tell you. How to be. to those who don't want to be
The endless refrain, and to those who are in their hearts.)
the vertigo of returning to play,
the esoteric, alchemic process
to make that little span of time (perhaps minutes)
that will later fill up the effect
when you perform it, when you live it,
a substantial and beautiful,
a luminous and exciting time. Magical.
To devote your energy, your wisdom, your gifts,
to transform your miseries into virtues,
to accept your personality,
to accept yourself.
To share with others
who search and experience the same
at anytime,
any day,
at any moment.
Search for fullness in life
and for love
for what you love
and live.
This,
this is
the profession of magic.
This,
 CHAPTBR7

THE MAGJC PYRAMlD

 THE MAGlC PYRAMlD

oughout my many years (sixty?) of enjoying magic, of watching it,

earning it and making my spectators dream, I believe I have understood
d felt certain experiences, later transformed into concepts and reflec-
ons about the art to which I am completely devoted, body (so many
eautiful efforts!) and soul (so much passion!) in this incarnation, which I
pe is not my last as a magician.
Among these concepts, taken directly from experience, here are some
at categorize magic, giving them the relative importance they possess
the whole of its structure. More plainly put: those that are, for me, the
ore and the less important things in our art.
"" In some cases, these personal categories of importance have fought
d collided against ideas acquired and received at the beginning of my
istic journey. Let's look at a few.
The Robert-Houdinic phrase, "The magician is an actor playing the
of a sorcerer," is for me, in general and with the exception of certain
tted sketches, inadequate at the least. In Chapter 5 (p. 264), I mentioned
ow magic should be presented but not re-presented. It is introduced into
N
everyday life as a dream that invades reality, but it is within reality itse
That is the reason why introducing fiction can fight against the sens
tion of magic and obstruct the emotional impact of living the impossibl
so specific to our art. Rather than repeat myself further, I refer you
Chapter 5, where you can acquaint yourself more deeply with my thoughts:
about the subject of story plots and fiction in magic.
When I present my magic, I continue to be JuaIJ., with my own essen..;
tials: ·age, tastes, character, etc. I am not an actor playing the part of
someone else, a king, a judge, a beggar, an old man .... The only thing
"play" at (not "represent") is the simulation of having or controlling cer-
tain magical powers. It is the same as when I play Mus (one of Spain's
most popular card games) or poker. I will pretend to have terrible cards
so that I can surprise my opponents with four Kings and win the game. I
play at, I'm not an actor playing the part of a card player. 220
Other axioms, known to Decremps in the 1700s and that continue to be
repeated to the present day: "There are no good or bad tricks, they are only
well presented or badly presented. It doesn't matter what you do but how
you do it. Presentation is the most important thing." Experience has taken
me to a point where I don't share those thoughts anymore.
I believe there are good tricks and bad tricks. I think the "what" mat-
ters. And I think presentation is the least important thing.
I have seen the Linking Rings, Metamorphosis, the Invisible Deck, the
Rising Cards-all of them not just good but wonderful tricks-performed
by beginners and amateurs who are not particularly gifted in artistic per-
formance. They perform with hesitations, shaky rhythm and almost no
communication. Nevertheless, the magical strength of those tricks, both
metaphoric and overt, is such that the spectators, including me, have
felt the impact of the impossible, the fragrance of the magical, although
I presentation is the least important thing. I do not say this to attempt
220. For those who read Spanish and are interested, I recommend Teoria
tecnica de la narraci6n oral escenica by Francisco Garzon Cespedes (2005,
Ediciones Laura Aviles: Madrid), in which the author describes the differ-
ences between a storyteller and an actor in a play. Most of those differences
are clearly applicable to the comparison of a magician to an actor.
haps somewhat diminished in strength by the weakness, sometimes a
ifi_cant one, in presentation.
But in some way they won the arti_stic battle, because those magnif- n
t effects were full of intrinsic beauty and graced with a marvelous
struction that uses very clever methods. Let's remembfr the Linking
gs, which conceals and .uses many secrets for achievi~g one and the
e effect: false counts, switches, the key ring added afterithe inspection
the others, use of rings already linked, feigned links while holding the
gs in a chain, etc.-all of them for the sole effect of making the metal
gs seem to link and unlink magically.
I invite you to apply your own analysis to the other tricks I've men-
oned as examples, to prove or disprove what I've expressed.
On the other hand, I have witnessed-more often than you would
ect-magnificent, elegant, entertaining and sometimes dramatic pre-
ntations of magical nothingness. One nevertheless sees confusing or
eak effects such as this: Three selected cards are inserted between the
ur Kings. One of the cards turns face up, and the other two travel to
pear between three Queens that have gathered in the deck after the
mth Queen has transformed into .... Who can be touched, magically
eaking, by something like that? How does one boost a non-existent
etaphor, and a multi-effect that is complicated, confusing and almost
possible to comprehend? What wonderful presentation can make the
~pectators feel the magic when they see a magician iron the wrinkles out
a silk handkerchief through his magic powers?
So, for me, without a doubt, there are good tricks and very good tricks,
ind bad and very bad ones.
ks for the maxim that presentation is everything, I repeat my cur-
font belief, in which I am reasonably confident, that in the art of magic,
.originality by going against the grain, or to try to shock or even to voice
a well-intended provocation to make the reader reflect. I will support, as
J:'igorously as possible, this somewhat strange (but only apparently) magi-
cal concept, after which I will qualify it.
N
Let me start with several examples from our non-artistic daily .
Let's say you readers invite me to dinner (by the way, when?) and ta
me to dine in a simple bar with bare wooden tables, decor that is spar
or nonexistent, and our meal is served on simple earthenware plat
They serve us fresh, nicely grilled sardines from the Cantabrian Sea (fro
Santofia, for example), followed by a couple of nicely prepared eggs (frie
in olive oil, please) and accompanied by a glass .of exquisite wine fro
. m
the family vineyard. I will probably be enthusiastic about this dinner
will tenderly, gratefully kiss all of you readers, especially the female ones
)
who have, in your infinite kindness, taken me to this simple bar, and I Will
certainly come back another day to enjoy it again.
On the other hand, suppose on another occasion I end up in a beauti-
ful restaurant, with stunning decor, artistic tableware, a pleasantly textured
tablecloth and designer cutlery (original, beautiful and practical at the same
time-an uncommon thing, by the way). There is live piano music, intimate
lighting, and the fish they bring me is spectacularly served, with exquisite
colors and fragrances. Everything invites me to taste and savor. And I try,
but-the quality of the fish is wanting and its freshness leaves much to be
desired. Then, when I eat the marvelously presented but dry and unsavory
fish ... I'll let you deduce the quality and the depth of my enjoyment, as well
as how soon my next visit to the restaurant will be. The quality of the prod-
uct-there is good fish and there is bad fish-is the essential thing.
Another example: We go to a wonderfully staged opera, presented and
represented-yes, represented in this case-by actors and singers, beau-
tifully and colorfully costumed. Everything enjoys the gorgeous framing
of the opera of Vienna. The only "but" is that I wrote the music, and I
it on one of my weak days of musical inspiration (we all have them). Can.
you already see, or rather hear, the pitiful result?
The quality of the food and its preparation-so as not to spoil it and to
bring out its best natural flavor-or the essential quality of the opera-its
music, well played, well sung-is important, supremely important. The
presentation ( of the restaurant, of the tableware, of the way the food is
served, of the costumes, of the decor, of the theater) is less important,
.ough this doesn't mean it is not important. In some cases, it can even
ery important.
'would express it like this: Presentation in magic is the least very
ortant thing.
Let's take two magical examples from my own experierce to support
better explain the above.
In several television series I have directed, I requested the ;collaboration of
Pendragons, Gaetan Bloom, Rene Lavand, Moretti, Juan Anton, Ascanio,
· 0 Vazquez, Pepe Carrol and others. These artists were; essential for me
ose series, through which I often struggled against the sometimes enor-
us mediocrity of television, while at the same time I enjoyed bringing the
ense beauty and variety of magic to so many millions.
In the early 1990s, in a series that was my voluntary farewell to television
ed from the struggles, but inwardly satisfied), I asked The Pendragons to
a rehearsal of their marvelous version of "Metamorphosis", just for the
eras, without an audience. This was to let the technical crew see how
effect developed, so that they could "mark" the motions. Jonathan and
lotte did that, going through the whole effect without unnecessarily wast-
energy, showing where they moved and what they did, narrating some of
actions ("Here we both dance ... Now we move over to this area... ") and
wering questions from the crew ("Do you guys need light over here?").
He is tied up and put inside the box and she gets on top of it, reserving
· er usual energy; no music, no choreography, in street clothes, without
reating any special expectations. She lifts the curtain and suddenly,
iraculously, Rip!-the cloth is tom in half and he is up there, Jonathan.
d there is no trace of Charlotte. I repeat: no lighting effects, no music,
:almost no rhythm, no decor, no costumes, just the magic, magic of an
astonishing, marvelous, impossible, fascinating, instantaneous, perfect
d absolutely miraculous "Metamorphosis".
This was one of the most exciting moments for the crew and the
pi.rector in the entire series. For weeks and weeks, with astonishment and
emotion, they remembered the impact of that authentic secular miracle,
 The second experience I'll recall here is purely personal. One of the
that has made me vibrate the most as a spectator is "Out of This World"
the great Paul Cuny (which dates, like me, from the harvest of '42).
turned out, the first person to show it to me was a schoolmate. We must
both been about fourteen. He had no concept of "presentation". We were
a train, returning from an excursion, and he did it on one of the seats. He
learned it from an uncle. The trick is long, and he did it rather slowly, witho
drama-nothing! But-when I saw that the cards had separated in harrno
with my choices into reds and blacks, Channn! I was absolutely astonish
and enchanted, and I experienced the pleasure of the impossible and fasc·
tion at my astonishing guessing ability, my wise intuition. And I might q
possibly have enjoyed, at a subconscious level, the symbol of harmony
0
of chaos, from mixed colors to separate ones. What I am sure of is that, fr
then to this day, that superb trick is among my favorites. As you can see, I
of this will become clearer, I hope, if I show you the elements of
.c illustrated as a magic pyramid. As you will see, I have arranged the
e~ts of the art of magic according to my beliefs, moving from the bot-
up. Let's look at it in more detail. (By the way, you should,. also look at
Other magnificent magic pyramids in Roberto Giobbi's pard College,
and Alfonso Moline's Esto es magia.)
THE MAGIC PYRAMID
Read from the bottom up
~ \ I I I I I/l costumes,

not very original in my preferences. My own mother said it was the trick sh
How PRESEN- etc., decor, What is seen
:::rATION music, rhyt~m,.
liked most of all those she saw me do throughout her life. @/ / I I I I\\' color, patter, lighting
~=======::;;
J

These two examples, "Metamorphosis" and "Out of This World", by EXTRINSIC ·········································
~~
means indicate that presentation is unnecessary, useless or unimportant. -<\0~ INTEREST {.pauses, What is felt
.._t\Q' ~ curves
I would rather say that presentation, when it is adapted, suited to the trick ~\"''7' ~ · . Jgrammar,
it "presents", works like a charm to enhance the magical value, possibly @ I INTRINSIC limpact, variety ................................. .

adds other artistic values and can cover some weak points of the trick..·. . What's concealed

l
elegant,
multiple, (which supports
But I also believe that the better the quality of the trick-its effect, its ingenious,
unthinkable, everything)
impossibility, its symbolism, its fascinating poetry-the less necessary an
' '.nv1s;b1e
added, external, presentation is.
1

I
~;n~f;:~i~n
When referring to presentation here, of course I do not include a to the circumstances
suitability { .to the audi~~ce
strict magical construction, a good understanding and clarification of the EFFECT to the mag1c1an
magical f novelty, fascination
quality l impact of the impossible
effect, and the boosting of intrinsic emotions (surprise, challenge, sus~ symbolism The base of
pense, etc.)., I refer only to extrinsic presentational elements: emotions -t~===~-=--=--=--=--=--=--=--=--=--=--=--=-~-=--=--=--=--=--=--=--=--=--=-==:-=-=-=-=-=:-=-=-=-=-~=-=-=-=-=-=-:::::l""\
. . J expressiveness, charm,
. communication l ability to communicate
that are applied and removed like an actress's makeup, ornaments, dress behavior,
expressiveness •{ . impact-energy,
presence, charisma
and hairdo. I repeat, I am not saying that presentation is unimportant. J sensitivity, human qualities,
charm l inner world
think it does have artistic importance. I say only that it is not the most
important thing. The five levels of the
Magic Pyramid
So, for me, Presentation is the least very important thing.
 384
First Level-the Base: The Persona
I believe that, in an art like magic, where the interpreter and the artist
one and the s~me, and the performer maintains his personality through
the _pr~sentat1on (not re-presentation, I'll continue to insist) of tricks, t
first thmg the spectators perceive is the persona, the displayed qualiti
of the performer. At first, they will capture only his more external ch
. . . ar
tenst1cs: his figure, how he moves, his way of speaking, his attitude
charisma (if he possesses it). But as the magic act or session progre~s
they will gradually get to know and appreciate something more import"'
ant: ~at the performer is like, the richness of his inner world, his ethical
qu~ht1es and his sensitivity. The better the artist's capacity for communi'";
cat10n, the more evident all these qualities will be to the spectators. They
will reach them more fully, more clearly, more quickly.
The combination of all these things will allow the spectators to make
a connection with the magician. They become more interested in him
sympathize and emotionally resonate with his persona-and it is of th~
greatest importance that we sympathize with the artist.
From the point this happens, we will be interested in what the art-
ist does and what he presents. We will look at him in a positive light,
prepared to be reached and enchanted by him and his magic. We might
even minimize flaws and forgive small mistakes. On the other hand, if we
don't sympathize with the artist or don't find him interesting, our attitude
toward him and toward his magic will be very different. He might amaze
us, but he won't touch us emotionally. In extreme cases, if we really dis-
like the magician, no matter how good or how well presented his tricks
are, it will be almost impossible for them to enchant us.
As an example, if my daughter presented a trick of only modest qual-
ity, my love for her makes me see it as a marvelous magical effect, and I
don't perceive its flaws or mistakes, or my love makes them unimportant.
I almost don't notice them.
But if my enemy presents a very fine trick, my negative feelings toward
him cause me to see every possible flaw, and at best I will think: "What
he did wasn't bad, but the rhythm was very slow, he was unnatural and he
flashed several times."
385
I hope these examples, almost caricatures, better express the essen-
'falue of the artist's personality.
It is not just about being liked; it i~ something much deeper. It's about
g a great person with a rich inner world, and knowing how to commu-
t e it being able to express oneself through magic.
) I
Once the essential val~e of the "who" is established, tpere comes the
I
important value of the "what".
cond Level: The Effect
e we are concerned with the content of the magic being presented. In
opinion, the most important thing found on this level is, without ques-
n, His Majesty, the Magical Effect.
I have always maintained in my thoughts and my feelings the supe-
rity of the magical effect to the method employed when creating and
esenting my tricks. For example, if I find some detail or a more direct or
ver method that might excite other magicians, I will incorporate it into
trick only if doing so allows me to improve the effect in quality or, at
t, not detract in the slightest from it.
And in the effect, the most important thing for me is its metaphoric
d symbolic potential: the strength of the symbol that expresses and ful-
s an impossible wish, the element that makes it fascinating. 221
There is also, naturally, the more specific magical quality of the effect:
e logical impossibility that gives it magical impact. To this we should
dd the importance of clarity and directness of the effect.
Then comes conceptual beauty, the harmonic construction of the pro-
cedure used in the trick, the elegance of the premise contained in the
~ffect and the power of enchantment. And we mustn't forget its novelty
arni originality, which increase its interest, surprise and capacity to fasci-
nate, all of which add to its pleasure.
Another important aspect is the suitability of the trick to the magician.
There are clearly effects and tricks that don't fit a particular magician, that
aren't appropriate to his style and personality. Some tricks, even if they are
magnificent and fascinating when presented by a certain artist, screech and
221. See "Magic and Symbolism", p. 71.
N
squeak when perlormed by another. After we fall in love with an effect Pre:
sented, admired and felt as marvelous in someone else's hands, we mUst
carefully reflect to be sure it suits our style and personality before we consider
adopting it into our repertoire. Otherwise, it is best to admire the trick in the
hands of others. For example, I feel an infinite admiration for the extremely
elegant presentation of Fred Kaps's manipulation routines, but it would be
infinitely foolish for me even to attempt to present them like he did.
Physical circumstances-surrounded, standing, outdoors-also deter-
mine, as we all know, the opportunity, or lack thereof, for presenting a
certain trick
And there is a third consideration: that of suitability of the effect to
the audience. There is the slippery subject of whether an artist should or
should not adapt his art to the audience, or whether he should express
himself through his art independent of the audience and its greater or
lesser capacity to accept it. This opens the question of whether an artist
should aim to please his audience and alter his art to do so, and if he does,
to what extent? Several factors enter into play here, one of which is the
difference between a magic perlormance presented in the context of a
show and one given in a context understood to be for artistic and personal
expression. I am aware of how slippery these terms are, since I have wit-
nessed, experienced and enjoyed marvelous magic shows in both styles.
Regarding the "purity" of art, I would like to state here that for me abo~e
' '
all "artistic" considerations there is always a fundamental issue: Since art
searches to please both the artist and others, and doesn't have any obliga-
tions or duties, because it moves in the wonderful world of freedom, if doubt
arises, the artist may choose whatever he likes and may present the trick that
gives him more joy-always with rigor and a certain degree of dispassionate
self-criticism. Because the joy and pleasure he receives from happily present-
ing a trick chosen in this way, studied and rehearsed with joy and passion,
will surely be transmitted and spread to his spectators, leaving everyone-
222
magician and spectators, artist and audience-enchanted and happier.
222. I have already referred to this issue and given my opinions on it in Chapter 1,
"On the Essence of the Art of Magic", p. 23.
But what we are concerned with now is pointing out the factor of suit-
ility when choosing a trick to present for a certain audience, may it be
• dren or adults, of different cultural levels, etc.
Another important factor in the effect and the perlormance session is,
in every work of art, the value of variety within uniformity; the variety of
223
otion within the unit of the effect and also within the unitiofthe session.
And, among other values, we should underline the great importance
f the memorability of the effect; that it's easy to remember, that people
·n want to evoke it, that its effect increases when it is remembered and
224
elated tooth ers.
The Secret Method
;Let's move to the next level of the Magic Pyramid, which still belongs to
'Awhat": the secret method, which is what supports, like a skeleton, the
istic body of the magic. This secret method is something unique to
ur art, since no other art needs the existence of its artistic procedure
remain a secret, the existence of the artistic procedure to be totally
0
concealed ( except for magic's natural son, film, and then only to a cer-
tain extent).
The importance of this secret method-the trick or trickery, I don't
:want to be afraid of those words-is evident. But we should also keep
in mind that the method should be guided by the effect. It would be of
no use, artistically speaking, for a trick to be based on a magnificent
method if the effect it produces is weak or lacks sense and meaning. I'll
give some examples:
You place a teaspoon into a glass of water, and the water heats up
slightly, becoming lukewarm.
Another-After a spectator shuffles a packet of fifteen to twenty
cards, three red cards appear together but there is no such black triplet.
223. See a more detailed analysis in my study "Variety in Effects", p. 105.
224. In the section on "The Comet Effect" in Chapter 4 concerning magic and
memory (p. 147), I explain my approach to this subject: improving memory,
emotional hooks, etc.
N
NO matter how ingenious or unthinkable the methods employed, You
see that the effects continue to be weak, barely interesting and have
appeal. They are vessels of magical nothingness.
,But there is an exception: when magic tricks are presented amo
magicians, by one to another. In that setting, the revelation of an extrem
ingenious method may produce such great admiration and enjoyrn
that the dull effect is overlooked. On other occasions, the novelty of
method and the great physical or psychological skill employed will r
among factors that will make the method more important, in this p
ticular context, than the effect. But this isn't the art of magic. It is t
entertaining and sometimes fascinating game magicians play with ea
other as we enjoy exchanging ideas, fine-tuning our technical techniqu
and exercising our ingenuity and creativity. Welcome that!
But let's go back to our art of magic and look at the characteristics 0
the secret method.
I think the method should be totally indetectable, not only to th
senses but also to the spectators' minds. It should feel impossible, beyon
suspicion and unimaginable. When the Bull of Logic is still bellowing o:t,
the Little Donkey, searcher of solutions, is braying, we should make them
feel their blatant impotence and have them understand they are out
place, so that they fall and surrender, giving way to the Winged Horse of
Imagination that brings us to The Rainbow.
In The Magic Way, I described the difference between the emotion
produced in spectators when a method is invisible but not immune to log"'
ical analysis or reflection, and therefore is suspicious and imaginable, and
the astonishment, the marvel experienced by spectators at a magical piec~
whose real method, and all other possible methods that were not used but
could be thought of or figured out during or after the trick, are
to them as nonexistent, or rather as impossible of existing. I don't know
how that's possible is not the same as This is totally impossible. It is not
the same to concede coldly that we can't find the solution as it is to feel
evidence that there is no rational solution, that we are experiencing and
enjoying something that cannot possibly exist!
ut another important, if not essential, characteristic is the existence
rne level of cleverness and creativity in the method. The greater these
ties, the better the magic; and not only because of the obvious diffi-
the cleverness poses for the spectators when they tr;Y to hit on the
ion (they would need to have, in that case, at least th~ same level of
ivity as the person who devised it), but also becaus~ the magician,
g the performance of the trick, inwardly feels and enjoys the quality
·ded by the cleverness of the method, unknown to the spectators. But
·n convey that inner enjoyment to his audience, if he is a good com-
.cator, through his performance. 225
The inner construction of the method should be carefully, rigorously,
ectly integrated and concealed for all the actions needed by the method
e justified. The digital and corporeal techniques required-and no more
those required-must be in the repertoire of sleights totally mastered
e magician, and these techniques placed in moments where interest
laxed and misdirection (diversion or control of attention) and timing
ordination of secret and non-secret actions using words, direction of the
e, the magician's general attitude, etc.) combine their powers to achieve
total concealment of, and perfect cover for, the secret.
of, And all this must be accomplished while bearing in mind the clarity of
.~ effect, allowing its development to be direct, avoiding complications
its comprehension or twisting its external life, and leaving no room
t the appearance of imagined, non-magical solutions. In other words,
u are building a Magic Way for an exciting, beautiful, joyful and direct
urney, with no useless distractions, no obstacles, unhurried yet swift,
t because of excess speed but because of the spectators' eagerness to
·ve at and experience the desired, promised and dreamy Rainbow as
on as possible.
From Robert-Houdin (master of masters) to Slydini, from Hofzinser
d Vernon to Ascanio, they have all studied and analyzed, with genius,
·s subject of how to conceal the secret method, how to make the trick-
disappear and allow the magical effect, astonishing and enchanting,
5. See more on this subject in "The Seven Magic Veils", p. 357.
clean, beautiful and brilliant, shine in all its splendor. I refer you' t
their magnificent performances and books, which you can supplemen
perhaps, with some of my earlier works and those of Darwin Ort·
Eugene Burger, Dari el Fitzkee, Nevil Maskelyne, etc.
I don't want to forget a quality that, at least for me, affects and mod
ifies the selection of a method: that the method should be elegant. By
that I mean it should be balanced with the effect, using no unnecessary
or excessive trickery; for example, a forcing deck of fifty-two duplicates
for a force, or a stage trap, twin assistants and two boxes with mirrors
for a magical translocation that could be better accomplished with a
set of illusion stairs and a cleverer procedure. There is an enormous
number of tricks accomplished with cleverness and digital, corporeal
or psychological techniques, and perhaps enhanced with a certain type
of preparation or a gimmick (a double-faced card, a Ball Shell, a Thumb
Tip). However, methods can lose all their elegance if the amount of gim-
mickry is excessive (Rough-and-Smooth, Corner Shorts, a magnet in the
Coin Shell, a loop of thread on a ball and a Topit for the others, a gim-
micked table for loading them, etc.). Very often, here too, more is less.
I should add that, whenever possible, the method should be mul-
tiple. Multiple in the sense that various methods are used to achieve
the same effect, either at the same time, or in an integrated continuity,
The Linking Rings is the paradigm: Key Ring, false counts, switches of
rings, false links based on optical illusions, psychological subtleties,
etc. All that for a single effect: the linking and unlinking of metal rings.
In The Magic Way, I described how doing Oil and Water twice, using
different methods, could help to cover the first with secret moments of
the second, and vice versa. In one phase, red cards and black cards are
truly alternated, and at the end the colors are not really separated; in
the second phase the,contrary is true: the colors only seem to alternate
and at the end they are truly separated. This makes any rational anal-
ysis impossible, because there is a general false belief that the same
effect is produced by the same cause (the same secret method). Magic
literature offers thousands of examples using this strategy.
Multiple secret methods can also be used to accomplish repeti-
of an effect within the same trick or routine. For example, in the
iti~us Card, different methods are_ used to bring the card repeat-
to the top (passes, double lifts, switches).
Having already analyzed the "who" and "what", let's no'Y delve into
I
"how". I am referring to everything that accompanie~ the devel-
ent of the effect, through its phase of preparation t;b the joyful
Levels: Emotions Presentation
istinguish two aspects of the emotions: The first concerns emo-
nal incarnation, the dramatic body of the trick This consists of the
rinsic emotions and the development of a dramatic curve, or curve
interest, within the trick The second aspect relates to the accom-
iment (sometimes a fusion) of magic with other forms of artistic
ression: decoration, costumes, music, narration, humor, dance,
ime, poetry....
In Chapter 5, I analyzed, perhaps in tiresome detail, the intrinsic
otions, as well as their variety, their impact and their grammar. I
fer you there. I want only to add, or rather remind you, that it is these
otions that provide specific weight to the body of the trick, granting
dramatic density. They are the incarnation that fills out and wraps-
d in doing so also hides-the skeleton of the trick: the method. They
o set the mood, warming things up, providing vital energy to the
inged Horse of Imagination and Art, enabling his wings to .soar and
im to pass through the moon (that of Alice's mirror and the pale one
above'Us), so that he can experience (dream up?) The Rainbow.
The emotions also greatly matter in controlling the curves of inter-
est (the dramatic curves) to· ensure a continuous and uninterrupted
increase in spectator interest, leading to the glorious explosion of the
rnagical effect, at the peak of interest, the climax. I direct you to my
analysis in "Conflicts in Magic and Their Curves of Interest" (p. 239)
and also mastery of the Art of the Pause (p. 310).
N

Other types of external emotions, ones not required by the trick transform into brilliant moments, completely covering the flaws and
the extrinsic emotions. They are created by lyrical or dramatic pa
' esses. Moreover, all kinds of emotions, as well as presentational
humorous or plotted stories, eroticism, etc. They live between the sing, are almost required if the session is of a longer duration (from 0
levels: that of the emotional incarnation and that of the presentation ty minutes to a two-hour show). I think it is hopeless to keep the spec-
cosmetics of the trick. For me, the more integrated they are in the tric s feeling astonishment and amazement at the impossible for so long a
the more artistically valid they are. Then they help in the intimate compr and it would be both frightening and tiring for them, persistently and
'
cilessly having their well-established and highly beneficial structures
hension, expression and feeling of the trick. They are not artificially add
on from outside. Whenever possible, they emerge from the effect; they ar. logic attacked.
summoned (at times even required) by the nature of the trick, of its effec That's all.
or of its necessary procedure, symbolism or essence. Art always possesses elusive aspects and nuances.
I realize that these concepts are somewhat ethereal and difficult t at's part of its essence, its mystery and its beauty.
grasp through reason (for me, as well), but perhaps they are easier to fe
through artistic intuition and sensitivity.
I call the last level of the Pyramid (restrictively, I know) "Presentation"
It deals with all that which, being partly accessory (its addition or removal;
does not alter the essence), helps (you bet!) with the enjoyment of the,
trick, providing emotion and variety, artistic expression, beauty and
charm. Included are music and sonorous accompaniment, lighting effects,
aesthetics of the props, costumes, decoration, dance, mime, etc.
But it is, after all, the harmonic and proportionate whole of all the
occupants of the levels of the Pyramid that ultimately gives the magic
work its true artistic value.
Leaving aside the basic and fundamental value of the "who" (the magi-':
cian's persona and its projection on stage), I think that the "how" (emotions
and presentation) is a complement to the "what". That's why I believe that
tricks having a powerful magical impact, due to the magnitude of their
impossibility and fascination, need very little dress (presentation),
those having a less powerful magic value welcome a more e:rr1tG.t:.·{,·r~.~
substance and brilliant attire. Also, on many occasions, those emotion~
and presentation can help-and greatly so-to cover weak but neces;..
sary points in the construction of the procedure of the trick. Sometimes
the method, even when magnificent, forces certain unjustified processes
and barely natural actions that a creative presentation (patter, plot, gags)
C
 FROM THE lNSlDE

Impromptu Magic 226

'snot about "giving a wonderful session of magic". (Another day.)

It's not about "starting to do a few sleight-of-hand tricks".
Here we are dealing with "the power that arrives and we use it for ... "
Here we are dealing with "the impossible happening unexpectedly".
Suddenly or gradually. It makes no difference. But without prepara-
#on (apparently).
Without "I don't know if you know this trick of ... " Without "Let's see if
:you li¾e it." Without "I will now show you this little Chinese box with a ... "
It's something else. Another idea. Another style.
We were talking about: and the surprise effect arises.
We need that-and it happens in an impossible way.
It's not a spectacle. It's not a show, a seance or a soiree.

226. This brief essay and the next are obvious fruits of my passionate youth in the
1970s; but I think they are still valid. I have slightly updated them.
N
It's the mystery, the miracle, the impossible manifesting. It \
0
appear at any moment, under any circumstances, when least expecte
when needed the most.
And the power doesn't depend on "I don't have anything on me to do
with", because it's not about doing anything, but about something happe ·
Provoking the situation.
Remember to be prepared for when, at any moment, the occasion arises;
Having a sharp, open mind, inventive, to create the effect with th
elements and circumstances that surround us.
Nothing like "Get over there so you can see it better."
Nothing like "I'm going to stand behind the table so that ... "
And there is no need to call attention: "Look."
Because attention comes when we see that something incredible and
impossible is happening.
Because maybe it's the others who call for our attention: "See what's
happening!"
And there is no need to create an atmosphere with empty passes,
because a touch of our fingers, a slight gesture of our hand, a sudden
intensity in our gaze, have power, they exude energy, they are magic.
Secret
An open and creative mind.
Props ready.
Props rehearsed and mastered.
Provoking situations, needs, subjects.
Foreseeing situations, needs, subjects.
Use your head (The Professor!).
Think of what could happen this afternoon in that house with
friends. Or at the ba;r. Or in class. Or tomorrow at work Or with that beau-
tiful woman or that handsome man.
What elements will there be? Which ones will I be able to use? What
might be needed? Who is coming? What can they expect? What subjects
might be discussed?
(Forewarned is forearmed.) .
Change money, we need some loose change.... Cigarette lighter out
~- ... Burnt out light bulb .... No vvJne left .... Pencils, pens, matches, 0
er bands, paper clips, nails, screwdrivers, scissors ....
Words heard in passing. Unknown people's names you pnd out.
Number on an ID card, dates of birth, marriage, ann~Krersaries, ran-
y obtained here and there that will make the power b,~lievable when
moment comes.
The special X pen is sold at Y. The rare book by Z, the owner of the
use where tom~rrow's meeting is; I can buy it at H. The watch, the
· gs, the pin, even the sweater or tie, or the umbrella, the scarf or...
hing I can find and duplicate or prepare (buying it, making it, stealing
vVhat does it cost?
A trick for $5, $25 or $30 ... but what a trick! What an effect!
What newspaper or magazine does my friend usually read?
What books might his girlfriend have?
What CD, what song does Monica often listen to?
What mobile phone charger does Jerry use?
Knowing that I will see them tomorrow:
What miracle can I prepare with the duplicate?
What can I provoke to make magic necessary?
Ifl am in that house today and will come back in a few days or months:
What can I prepare for then?
A paper with something written on it behind the painting by Zurbaran?
A special postcard in Spinoza's book up there on the second shelf?
The signed card from yesterday's trick behind the desk?
A marked coin under the carpet?
Although, careful! It's not (of course!) about playing at being a spy,
carrying a paper supply store or a hardware store in your pockets, or
lanting houses, offices and bars with messages, cards and coins.
It's about using your head (Professor!!), your imagination and your
eativity.
N
It's .a~out creating ~he ne~essary conditions, instead of doing very
enterta~n~ng an~ beautiful sleight-of-hand; or better, aside from doing
entertammg sleight-of-hand, aside from performing mysterious and
impossible effects, managing at times-some, a few, only at certain loca.;
tions, on occasion-authentic secular miracles.
At the market, in .shops, at a bar, in the subway, on the street, in
your house, in her house, at the hospital, in the movies, at the disco, at a
restaurant, at the pool, in the mountains, on the beach, in the car, at the
hairdresser's, at a party....
As we eat, with what we eat (I can bring my gimmicked fruit and
bread).
As we walk, where we will walk (I can foresee it, instigate it and pre-
pare things).
When going on an excursion (I can go there the day before and plant
something or predict that ... ).
When going to a restaurant for dinner (I can call ahead and let them
know that ... or ask if... or find out that they are out of a certain food ... or
the special dish of the day... ).
And thread, which I can use to move something when the moment
arrives.
And a Thumb Tip for switching or producing or vanishing something.
And indexes for playing cards, business cards or slips with predictions.
And a Nail-Writer and mirrors, Pulls, a Topit, magnets, holders and ...
and ... and ....
And what if I prepare a book and switch it for its duplicate when I get
to his house?
And what if I prepare a cigarette, of the same brand he smokes with a
' Do we expect their "Very nice! Well done!" or their "It's not possible! ...
magnet and introduce it surreptitiously into his pack?
And what if I place ia mirror where no one would suspect it?
And if I sneak the duplicate ring into her purse?
And if I buy an identical ashtray and have it engraved with an inscrip-
tion of? ...
And if I hang the invisible thread from here, in order to later? ...
And if I bring two identical scarves, and one of them is stained or tom
y accident? . . . . . .
And, if I have a similar bread roll ma~e with the identical nng ms1de? n
And if I record his voice on my cell phone, and next month I perform
effect of?. . . 1
And if I keep her signature, or learn how to duplicate it, +,nd I place it
that object, that card, that crystal, that mirror, that papery ...
If I carry a duplicate shoe and it travels?
And if I bring three glasses that are identical to those in his set?
And if I get a pen' like his and load it with a different colored ink?
Or if I give him a bill, or a coin, with the word or the signature of? ...
And if I change the salt for sugar in his house, so that later? ...
And if I buy the same souvenir I saw him buy during our trip?
And if I bring a piece of cloth identical to that of the curtain, table-
cloth, linen, washcloth, towel of? ...
And if I learn by heart the text he wrote?
And if I gimmick that photograph, so that? ...
And .. .
And .. .
i\nd .. .
But, once and for all, let's think:
What's going on with our magic?
Do we have the power or not?
Are we magicians sometimes or all the time?
Do.we do tricks or secular miracles?
Do we want to be applauded or to leave them astonished?
Do we seek their surprise or their amazement?
Do we want their perplexity or their fascination?
but it is!"
Doing a hundred tricks, a thousand beautiful tricks. Very good. They
bring surprises, some joy, they make them think, they admire ....
But-doing a single secular miracle is neither good nor bad. An explo-
sion. A blockbuster. Or, less passionately, a delight, a wonder, something to
s~v~r,. feel, love, remember, comment on almost with a fear that it may
of Accessories
tnvialized, something absolutely memorable, fabulous, spellbindin :E .
. g, asc1~
natmg and dumbfounding. think a magician becomes a better and better magician the more he
T~at stays in the memory, that will be told to others and evoked a hun- ows and comes to master a larger number of secret accessories. Taken
d~ed times; days, months, years afterward. Improved in the memory. The an extreme, I think a magician who masters those accessories would
tail of the Magic Comet. A legend. ardlY need to know any other tools or techniques. Accessories would
That's how it is. uffice for him to produce miracles at any moment.
That's how it can be. That's what Finn Jon does with thread, or Michael Ammar with the
That's how our magic will be. opit, or Gaetan Bloom with the Thumb Tip.
Let's use our heads. (Professor!!!) Let's imagine an unknown magician who arrives at a magic club or
eets with a group of magicians. Let's say he knows hardly anything
bout card technique or coin sleights or any of the usual tools of our trade.
uppose, though, that he has mastered the Topit. He can make objects dis-
pear with extraordinary facility, or switch them for other objects, which
to say he can transform them.
Or say he is a master at handling the Thumb Tip. He can make small
bjects disappear barehanded, he can transform them or make them
pear and reappear. In other words, he can secretly transport them from
ne place to another (from the fist to a little box, etc.). So he can make

Or suppose he has mastered the technique of invisible thread. He can

make any light object magically move or levitate, and he can transport it
secretly. Especially if he masters Pulls.
And if he also knows how to handle magnets and wax (or Blu Tack)
operly, he can stick, glue and unglue. If he knows how to handle Card
dexes, if he knows how to use a Nail-Writer, he can make predictions
d read minds. If he masters the technique of sleeving, he can, again,
ake things appear, reappear and change. And what about the Pull? And
e Sixth Finger feke? And Pochettes? Pencil reading? Muscle reading?
at if he is a master of Flash Paper or mirrors or daub? ...
With just the Thumb Tip, threads and wax or Blu Tack, he could
make productions and disappearances and transformations, transposi-
ions and animations and levitations and predictions-almost any basic
agical effect.
 Because of this, I advocate a thorough study of the magic of acce~son h Paper), you predict what a friend is going to order (Nail-Writer),
Conventions and magic clubs offer seminars on accessories, as do schoo ,always win when playing Chinos 227 (Coin Shell, sleeving and Pull), a
for magic. Let there be competitions and awards for the magic of accesson :ass of cognac disappears (Topit), etc.
(just kidding). May all the magic with accessories be gathered in a book-the I'm not suggesting we go around loaded with threads, Pulls, Topits,
most magical of all accessories! c. What I'm saying is that, if we have two or three a9cessories we've
I believe ancient magicians had a clearer idea of the utility of accessoi tered, the magic we can achieve is limited only by tht capacity of our
ries and opportunities for their use. Threads, wax, Servantes, Pochettes agination. Ah! Then there are the countless possibilities that open up by
mirrors .... They produced miracles at any moment, with any object, in any' · g a deck of cards-but that's another story.
situation. The pocketed apron (budget or gibeciere), a strand of woman's
hair (semi-invisible thread), hidden pockets (portable Servantes) ....
It's been forty years now since I was astonished and enchanted at did the great master Slydini do (among other things) but play, study,
by Roger Klause's use of a Thumb Tip with a sponge ball (while I had eate, research and master an accessory, the lap, to sublime limits.
a Thumb Tip in my pocket!), by Finn Jon and Gaetan Bloom with their 7. Los Chinos (Spanish for Chinese) is a popular, ancient Spanish betting game
threads (used even in mentalism effects), with Sammy Liardet's hidden that consists of each participant extending his fist, holding one, two, three or
pockets or Jimmy Grippo's Card Indexes. I apologize if I appear dogmatic, no coins. The person who guesses the total number of coins in the hands of
but I maintain: all the players wins.-TRANS.
Magic is in the accessories.
I know they are not easy to study, practice and master. But they are so
useful, so versatile, such fountains of magic!
Here is a challenge: Imagine a very strong effect; better yet, ask a rela-
tive what effect they would like you to do right now with everyday objects.
These would be things you would you do if you were an authentic magi-
cian. When they give you an answer, imagine you have the accessories at
hand and have mastered them. I am sure in many cases you would be able
to do the requested effect. That is what makes an improvised and creative
style of magic possible, and it depends on the wishes of the moment.
An example: You are at the bar with friends. A paper napkin is tom
and restored (Thumb Tip). A knife lying on the bar moves, rotates
stops, pointing to' the person who should pick up the check (magnet).
Someone needs a toothpick and one rises from the glass (thread). An
olive flies (thread), a banknote emerges from your pocket and rises to
your hand (reel), the liquid from a glass disappears in your fist (a piece
of cotton attached to a Pull), a flame bursts from your friends' cigarettes
 FROM THE OUTSlDE

Magic and Comedy

ere I will deal with these two subjects, magic and comedy, and their
mbination to create an artistic form I believe interesting and to which
have dedicated, and continue to dedicate, thought, effort and practice.
believe the relationship of magic and comedy is by no means an easy or
simple one; rather, it is discordant and difficult to bring into harmony.
I will begin with some basic notions about comedy, presented in outline
hion, to point out the nuances that distinguish the difference between
omedy on the one side, humor on another and laughter on the third.
.Comedy makes us laugh. Humor doesn't necessarily. It's more like an
itude, a prism, distorting or not, through which the world can be seen
d understood.
,.,.,
I intend to address comedy, the thing that makes us laugh, leaving
umor for others to analyze. Within comedy, we can distinguish three
ays to produce laughter:
The Joke
In general, spoken. The joke consists of a series of facts, intelligently
gathered, that suddenly produces an unexpected surprise, the absurdity
r other characteristics of which cause us to laugh.
 408
409
The Comedy Punch
Some Laws of Laughter
This is something occasional, unexpected and sudden G all
. . ener ya h
cal action: a gesture, a glance, a sound, even a word or brief and ~r p .
.An example· In · . ect involves causing several laughs at regular intervals. A ~ind of rhythm
. a movie, a pedestnan crosses the street
deniy-Glup, h d · and s e moments of laughter is produced, and some of t~~ audience get
. - e isappears down a barely visible hole in th
e asph I
to laughing at consistent periods. When arriving at/ a new interval
The Gag
ical to the preceding ones, the tension accumulated ;'during the wait
A gag has a dynamic and dramatic structure with a presentation . urages relaxation by laughter. For example, if a laugh is achieved
and resolution. ' clirn five seconds, three times, a pattern is established, and a new laugh is
Example: The same movie scene. We see another pedestrian W ected five seconds later. At this point, any mild gesture, scarcely funny,
the hole. He gets near it, but at the last moment he steps safel . e s~ uld suffice to cause the spectators to laugh as much as they did the
Sudden! · Y over 1t ·ous three times. A magical example: the Lota Bowl. The Rhythmic
Ya passmg car makes him step back and-Glup!-he falls. •·
the hole and disappears. moo is related to what is known as a "running gag".
There are also some so-called laws of laughter which expl . t
t . ' am o sorne:
ex ent why or m what situations we laugh. Again briefly d . .
r , an m rough out. unexpectedly absurd produces laughter. Example: A card disappears
me, here are some of these laws of laughter Gust to name a few):
er the hand. Laughter is caused by the illogical absurdity of the event
by the release of physical and psychological tension produced by the
den disappearance of the card. We will return to the behavior of laugh-
as a release of physical and psychological tension.

E LAW OF THE REBELLION OF OBJECTS

bjects that move, that escape against the magician's will, that seem to
ave their own life and to rebel against the magician or tease him, usually
produce laughter.

HE LAW OF DOUBLE MEANING

'\

lrhis encompasses all jokes with a double meaning. Example: The magician
pulls a handkerchief from his pocket and it has a red lipstick stain. ''I've been
on a business trip." (A twentieth-century classic, hardly used these days.)

THE LAW OF JUST PUNISHMENT

.This involves punishment to a character who is guilty of something that

disturbs us, hurts us or bothers us. The audience accepts and laughs at the
N

punishment or at anything that goes wrong with the perpetrator. Ex

A heckler. When someone in the audience repeatedly disturbs the
CLIMAX
cian, he retorts with something like: "The next time you buy a to
make sure it comes with a brain under it." (A classic example, whi
totally alien to my preferences. It is given only to clarify the concept.)

THE LAW OF MECHANIZATION OF THE HUMAN

Time
Walking or moving as a robot usually produces laughter. In gene Time Magic
A dramatic art
everything that dehumanizes and mechanizes life causes laughter, automatic l~ughter that sometimes doesn't seem to make sense.
at times horror. ost 'f we don't find it funny. It is through laughter that we
laugh even i . . .
·n the tension previously instilled.
Other Cases that Tend to Induce Laughter ·eve a steep fa11 i 1 ·
. t m causes a sudden rise in tension. Let's look at a c assic
Horror, m u ,
Aside from the above laws, we tend to laugh at revenge and disas the difference between laughter and horror:
1 f
peo · h kn"f'. He then
rivalry, fights without serious consequences, a fatal imprudence, m· W ee someone threatening another person wit a i e.
takes, clumsiness, misunderstandings, endless ambition unfulfilled, ve e _s . t· ·n the chest' But it is a rubber knife that bends. It was a
s his vic im i ·
small things (like a tiny die), madness, etc.
e between two friends. Laughter.
Th contrary: Someone hits another person with a rub~er hammer.
Curves of Interest in Laughter, Magic and Horror e . h g bs a kmfe and stabs
h t bs him with rubber scissors. Fma11Y, e ra
As we all know and I have discussed in "Conflicts in Magic and The' en e s a ·1 . al' The man dies. Horror.
with it-but this one is not rubber. tis re .
Curves of Interest" (p. 239), in every performing art, its development ·
time can be diagrammed as a curve of interest or dramatic curve. In gen.:
Horror
eral, such a curve develops over three phases: presentation, climax and
resolution. In other words, presentation of the elements of a conflict, the
high point of the conflict (climax) and its solution or resolution. After this,
the curve of interest decreases until final relaxation is reached. Laughter
Magic, as I understand it and have explained, lacks the resolution
phase. The magician poses the logical-rational conflict-this thing you Time
Time Horror
is not possible-but doesn't resolve it. The tension, the interest, Laughter
at the highest point bf the curve, at the climax.
taughter in Magic: Easy and Dangerous
On the other hand, laughter produces mental, and even physiological cific characteristics of
Now we are ready to comprehend these two very spe .
relaxation. It's a quick, almost instantaneous way to dissolve an accumu- d gic Provoking laughter
)
relationship between comedy (laughter an ma .
lated and sustained tension. It is natural, then, that the unresolved tension . d dangerous. Let's see why.
a magic session is very easy-an very
at the climax of a magical conflict is often resolved through laughter, an
N
VERY EASY
As I've ~aid, laughter is very likely to occur after the magic: The di
the magical effect, lea~es the ten~ion at a high point, and anything
~ ~roduce an abrupt fall m that tension, causing laughter. Even without
mg and for no apparent reason.
Here is an e~ample every magician has experienced· We h
. · s owa
m the hand, the hand is closed and when opened again the · .
' , com1sg
After all the Ohs! we often hear a few small laughs Why? Th ct·
. . · • e 1sapp
anc~ of a c~m 1s not funny. But our collision with the illogical, the abs
the 1mposs1ble experience' can be · Furthermore- and th·1s 1s · wh at we
concerned with most here-the unresolved logical conflict of the m
l~av~s the spectators in a state of tension, and the way to release that te
s10n 1s by laughing!
We, as magicians, have all found that, whether or not we are funny in
0
everyday lives, when we present magic it is very easy to make people lau
The audience might even fool us, without intending to, with th
laughter, and make us believe we are funny. This is a crass error (as
~ear and admirable friend Manuel Cuesta would say). The magic is wh
1s funny. Better said, it is the structure of the tricks. Unresolved tension
the unsolved conflict sometimes leaves spectators on their own to rel
and they laugh at the first opportunity, at the slightest joke, at the small
comic ability of the magician, and sometimes without any such stimul
whatever, because they need to. They need to relieve their tension and
we have seen, laughter is marvelous for that. ' I want to observe, in passing, that all this explains beautifully the rela-
In my lectures on this subject for magicians, to prove and bring to
this almost automatic consequence of a need to release tension ,--·-·,,.,,·•~• .
ter), I often do the following experiment using a classic gag, which I
describe, in case you might find it useful.
lb . b kin
egm Y as g a spectator I have seen to be expressive, ':4.re you 8erlft.
sitive to electricity?"Whateverthe answer, I continue, ''Well, don't be afraid/.
I'm going to try an experiment and it's all under control ... I hope." I am hol~1
ing a matchbox and I ask the person to come up to help me. She (let's assum~
this time it is a woman) normally complies somewhat reluctantly. I turn m
to the audience. I secretly strike a match and throw it to the floor, mak-
all gestures as if I have accidentally burnt myself. I then arrange two
hes protruding halfway from the _closed matchbox, like two little horns.
turn around, holding the box as if I had something concealed under it,
mechanism. I ask the lady to run her :fingers slowly ove~ the matches until
I
reaches their heads. But as I demonstrate what I wish h~r to do, I remove
gers before they touch the heads, exhibiting a certain ~ariness. The lady,
ewhat fearfully, runs her fingers over the matches and when, in the middle
e tension created, she reaches
eads, I briskly bring my hand for-
' moving the box toward her, and
e a loud noise with my mouth,
:ting a spark ''Fzzzzt!"
She will be startled, normally screams, and jerks her hand away while
·ng a couple of steps back, almost jumping. The tension in her and
the rest of the audience has risen to a maximum. To relax, everyone
ghs, including her, sometimes nervously. And the laughter is usually
longed. Try it out.
It's a silly little joke that lacks true comedic elements. Yet the laughter
always strong and lengthy. It is clear that the laugh erupts when every-
e, the spectator and the rest of the audience, realizes it was a joke with
harmful consequences. If she had been really burned or shocked, no
e would have laughed (I hope).
nship between laughter and horror. Further examples are found in the
agnificent comedy movies based on horror situations, the best-known
·ng Hold That Ghost with Abbott and Costello. A fearsome situation
established, which scares you and is dangerous for the character (he
alone in your house, and it is feared to be haunted). The tension is
ruptly elevated with a scare (a hand is rested on his shoulder) and is
stantaneously released upon disclosing (to the character and audience)
at the hand belongs to a friend who has just arrived. The laugh is loud
d long and totally guaranteed.
 Let's also remember how easy laughter comes in situations that
normally invite the contrary; in funerals, for example.
CLIMAX
VERY DANGEROUS

Laughter is very dangerous for magic, artistically speaking. The main

--•
CLIMAX
------•
son is that it can reduce the magical impact of the effect by caus· Gag CLIMAX
ACHIEVED
steep drop in dramatic tension, which prevents the audience from fee
astonishment and a sensation of the impossible. The Ha, ha, ha! may
against the Oh! and even kill it. Try, dear reader, to say, "Ha!" really la Time
Gag just before the climax Tiresome and slow recovery of tension
ing, and at the same time say, "Oh!" with genuine astonishment. You
not be able to do it. joke or a gag at the same time as the magical climax. This is very
dangerous; deadly, I would say. Laughter kills magic.
Let's examine various cases or possible situations in which there is
An example (which I've mentioned in a previous chapter): Clayton
open battle between magic and comedy. But first, in an attempt to cl ·
Rawson's brilliant thought-projecting eggbeater premise. All the spec-
this concept and make it memorable, even if the form is emphatic
tators yell in unison the name of a ....,
somewhat ridiculously academic, I will state a kind of...
•· card selected and seen by a single ~ FAILED
Artistic Theorem: The product of Magic and Comedy is constant: CLIMAX
MxC=K.
spectator. He is perplexed by this, ss:::
since he hasn't seen the magician
This means that the higher the comedy, the lower the magic, althou
showing a jumbo duplicate of his
there are exceptions and situations in which we can apply certain correc
ing techniques, which we will discuss later. selection to the rest of the spec-
But now let's look at the ... tators as he was attempting to
transmit the thought-of card to
Time
DANGEROUS CASES FOR MA.me them by rotating the blades of Gag at the moment of the climax:
an old-fashioned manual egg- sudden death
1. Inserting a joke or a gag right before the climax. Tension and attention
.beater, The logical thing would seem to be that everyone is astonished
drop, and when attempting to recover them we have to start lower.
at how the magician discovered the identity of the card that was freely
Example: a gag just before showing the rope has been . . ,u'l.6~1:..-;u•~r .
restored. selected. In other circumstances, if the final gag-the surprise and per-
plexity of the assisting spectator on hearing the choir of "psychics"-is
The only solution, a partial one, would be to delay the 0~LJ"t,hnt~½ll'l.•••"T'. ·
L ••

eliminated and a different type of presentation is used, involving a

of the climax and, with enormous effort, try to recover attention
slow divination of the card by the magician, the effect, as we all know,
again elevate tension before producing the effect. Artistically, this is
will be very strong. But here-no one cares about the magic. . ' No one
not a good solution, because there is an unnecessary anti-dramatic
asks himself how the magician knows the card. No one is astonished
slowdown and a loss of rhythm, as well as the excessive effort neces-
or even intrigued at his knowing it! Comedy, extraordinary in quality
sary to recover tension, with a subsequent waste of energy.
and intensity, has made the magic disappear. I am ignoring the fact,
 which I will comment on, this is a trick an objective
. g them
wn short phrases. that cause laughter, and who know
of magic but of laughter, sharedjoy, fun, the game, the feast, ands
to make the interest, tension and attention rise to their previous lev-
very positive, artistic consequences, including a surreal atmosphere
rior to the laughs. The great SlY,dini and a few others mastered and
satire of consumerism, participation and group cohesion, relaxat· 0
master this very difficult discipline.
· expression of oneself, etc. 1

Other artistic dangers reside in the very deceptive niture of laughter.

But, without a doubt, we can see the danger. Other cases, many
sider an easy joke or gag, or one that targets an un~ortunate specta-
them, will not have the positive elements just r:nentioned. On top oft
or the use of foul language without reason. Yes, t~ese things might
the laughter and comedy will be highly inferior to those found in
big laughs, sometimes very loud ones, but they arei of a low quality.
presentation of the thought-projecting eggbeater. A gag, even a clas
etimes just a few spectators make it sound as if the audience is roar-
joke, without great value, will ruin the magic without an artistic -n. .... T,,-Pl'!f
when careful observation will show that many others aren't laughing
3. Many constant jokes and gags with-
....,
out measure, which don't respect E are even uncomfortable when faced with far-fetched, artificial, forced
rnedy of a low artistic level. Loud laughs, sometimes thunderous, can be
the magical moments, which break S
the magical atmosphere, jokes of
s::::
.... .... duced by easy jokes about sexual or scatological matters.
Some spectators laugh to release restrained aggressiveness, taking
medium or low comic quality, or
asure in the performer's demonstration (abuse) of power as he insults,
that are merely humorous, even
h wit of varying degrees, some spectator or collaborator, or makes him
though they make spectators laugh
(we already know the reason). k useless or stupid, while he remains, the supposed artist above it all,

The curve of dramatic tension ever and sublime.

in the body of the trick is weak- Many gags and jokes: There are obviously degrees and nuances in all this. According to the
slow agony
tuation in which the magic takes place, the intention of the artist, the
ened, and the final height of the climax is reduced. This results in an
dience, the venue, the attitude of the magician and the subtlety of the
enormous loss for the magic and, moreover, the comedy and laughter
hole, something positive and artistically acceptable can result.
are of a medium or low quality, due either to the jokes and gags or
Also keep in mind that the comedy should suit your style. Gags and
to the performer's meager comedic skill, even though it may seem to
~okes are like suits; they are not interchangeable. Perhaps if we borrow a
him, because of the laughs received, that he possesses greater ability.
suit of a larger size than ours, the primary function of the suit, that of cov-
As a result, there is nothing positive gained, artistically speaking.
ering us and keeping us from feeling cold, will still be fulfilled, but we will
Let me make it clear that I am not referring to those magnificent artists ll1'.bst likely look like scarecrows. Similarly, if we borrow a style of comedy
of great comic or humorous abilities and enormous wit whose objectives
that doesn't fit our style and personality, it might make some people laugh
are of a high artistic quality and who express themselves through comedy
tonly some and in a certain way), but in the sensitive eyes of many we
while voluntarily sacrificing the magical value of their performances. That
will be artistic scarecrows. As we all know, there is nothing more pathetic
is their perfect right.
than someone trying to be funny when he is not, or who tries to make us
Neither am I referring to artists, some of them brilliant, who know
laugh with jokes and gags that don't suit him. The wisdom of "Know your-
how to handle the continuous tensions in the structures of their tricks,
self' is totally valid here.
N

which I will later comment on, that this is a trick with an objective not ]ightening them with short phrases that cause laughter, who know
of magic but of laughter, sharedjoy, fun, the game, the feast, and some ho-W to make the interest, tension and attention rise to their previous lev-
very positive, artistic consequences, including a surreal atmosphere, a els prior to the laughs. The great Sly9-ini and a few others mastered and n
satire of consumerism, participation and group cohesion, relaxation, still master this very difficult discipline.
expression of oneself, etc.
Other artistic dangers reside in the very deceptive nature of laughter.
But, without a doubt, we can see the danger. Other cases, many of Consider an easy joke or gag, or one that targets an unfortunate specta-
them, will not have the positive elements just mentioned. On top of that
' ' tor, or the use of foul language without reason. Yes, thE:;se things might
the laughter and comedy will be highly inferior to those found in the
get big laughs, sometimes very loud ones, but they are of a low quality.
presentation of the thought-projecting eggbeater. A gag, even a classic
Sometimes just a few spectators make it sound as if the audience is roar-
joke, without great value, will ruin the magic without an artistic payoff.
ing, when careful,observation will show that many others aren't laughing
3. Many constantjokes and gags with-
or are even uncomfortable when faced with far-fetched, artificial, forced
out measure, which don't respect E
+,I

comedy of a low artistic level. Loud laughs, sometimes thunderous, can be

the magical moments, which break S
the magical atmosphere, jokes of
medium or low comic quality, or
c.:

;
;
,. ;
,.
.... - ---•
CLIMAX
produced by easy jokes about sexual or scatological matters.
Some spectators laugh to release restrained aggressiveness, taking
,,
;
pleasure in the performer's demonstration (abuse) of power as he insults,
that are merely humorous, even
with wit of varying degrees, some spectator or collaborator, or makes him
though they make spectators laugh
look useless or stupid, while he remains, the supposed artist above it all,
(we already know the reason).
clever and sublime.
The curve of dramatic tension Time
Many gags and jokes: There are obviously degrees and nuances in all this. According to the
in the body of the trick is weak- slow agony situation in which the magic takes place, the intention of the artist, the
ened, and the final height of the climax is reduced. This results in an
audience, the venue, the attitude of the magician and the subtlety of the
enormous loss for the magic and, moreover, the comedy and laughter
whole, something positive and artistically acceptable can result.
are of a medium or low quality, due either to the jokes and gags or
Also keep in mind that the comedy should suit your style. Gags and
to the performer's meager comedic skill, even though it may seem to
jokes are like suits; they are not interchangeable. Perhaps if we borrow a
him, because of the laughs received, that he possesses greater ability.
suit of a larger size than ours, the primary function of the suit, that of cov-
As a result, there is nothing positive gained, artistically speaking.
ering us and keeping us from feeling cold, will still be fulfilled, but we will
Let me make it clear that I am not referring to those magnificent artists most likely look like scarecrows. Similarly, if we borrow a style of comedy
of great comic or humorous abilities and enormous wit whose objective;.;; that doesn't fit our style and personality, it might make some people laugh
are of a high artistic quality and who express themselves through comedy
1

while voluntarily sacrificing the magical value of their performances. That
is their perfect right.
Neither am I referring to artists, some of them brilliant, who know
how to handle the continuous tensions in the structures of their tricks,
(only some and in a certain way), but in the sensitive eyes of many we
will be artistic scarecrows. As we all know, there is nothing more pathetic
than someone trying to be funny when he is not, or who tries to make us
laugh with jokes and gags that don't suit him. The wisdom of "Know your-
self' is totally valid here.
N
I don't want to forget that magic is a beautiful and complex art th
touches us, that leaves spectators astonished and charmed, and it doesn
need laughter and comedy at all. Neither does it need dramatic plots, 1
ical stories or elegant and colorful presentations. All of that-corned
' '
external drama, lyricism and elegance-can combine very well with rnagie
or dress it nicely, but. I insist, it doesn't need it. Sometimes it is welcomer
other times it is injurious.
Comedy, drama and stories of various types are welcome to magic when
they add artistic value, but not when they detract from it, diminish it or, in
less harmful cases, distract the spectators from their thorough enjoyment.
-As a temporary recap, what we have discussed so far can be summed
up as follows:
Comedy is not necessary. Magic doesn't need it.
If you don't have the comedy gene, it is best not to force comedy or to
use situational comedy.
If comedy is used, it should be suited to your style and personality.
We shouldn't fool ourselves with the laughter of audiences. Getting
laughs with magic is very easy. But there are different qualities of laughter.
In any case, we should strive not to spoil or kill the magic with laughter.
We will now delve into that last point in detail. Let's see how to pre-
vent laughter from fighting the magic and spoiling it, even killing it. Let's
not transform the life-giving, beautiful, refreshing, joyful and happy value
of laughter into an artistic killer. To that end, we will now study the differ-
ent harmonic relationships between magic and comedy.
Comedy
omedy .... ,,,.,._.., Magic
. es our artistic objective is not magic but comedy apd laughter. In
omet1m : ,
ese instances, we use magic, or maybe a magical effect, t~at doesn t end
p resolving in magic but in a joke meant to produce laughter..
It is obvious that, in these cases, there is no artistic prob~em smce, when
· no magic there can be no conflict between comedy and magic.
~IB ' '
Example: After failing to find the selected card, you say, "All magi-
. d ·t ll}ke that Not me. All magicians get the right card. Not me."
eians oi(I •
Comedy with Magic
Here, although magic does exist, we wish to give priority to comedy,
laughter and to all its values: shared joy, group cohesion, an ~tm~sphere
that provides happiness .... The eggbeater trick discussed earlier 1s a per-
fect example of this. The magician doesn't aim to give an impression of
the impossible. Instead, he looks for active participation, group cohe-
sion (the audience yelling, all at the same time, the name of the selected
card, leaving the spectator who chose it completely dumbfounded) and a
relaxation of the tension (positive tension) accumulated throughout the
previous magical effects, from so much astonishment, so many impossi-
ble events, so many blows to logic. A succession of magical effects can
leave spectators stunned, shaky, off balance, an orphan to logic, at times
everi frustrated. What a marvel is the trick that relaxes the!Il, liberates
them, animates them, gives them a sensation of power (they make the
divi~ation, acting as magicians) and makes them feel like a participant
and part of a cohesive group! What a magnificent artistic orgy! What a joy!
(The ultimate goal of art and of life?)
Here magic keeps its full value of impossibility and all its capacity for
fascination.
N
To do that, I have a formula that helps me know where to place
edy, whether in the form of gags or jokes (although, to tell the tru
never tell jokes; it would be more precise to call them funny occurrenc
In other words, it indicates where and when I should produce laugh
without having it fight against or punish the magic.
The formula is:
Before, after,
at the start or
at the same time.
I'll explain:
Before
Placing the laugh before the trick begins has no negative influence on th
magic. The magic hasn't started and, therefore, once the laugh is over, I c
start presenting the trick and build dramatic interest, beginning from zer
After
For the same reason, placing the laugh after the trick will not influence th
magic negatively. But "after" here means after the pause for assimilation is'
completed (remember its three phases: astonishment, remembrance, then
joy with pleasure), because the presentation of the trick doesn't end with
the moment of the magical effect. It ends after the pause for assimilationj
after the spectators have enjoyed the sweet enchantment of magic and
savored it (although here we will disregard the fact that the fascination
CLIMAX CLIMAX
Before After
. wi·n last longer thanks to The Comet Effect, and may it last for
~y .
•es and centuries to come).
. g the laugh at the beginning of the trick, in the :firs~ moments of the
ntation of the props to be used or of the situation to ~e developed, we
achieve the benefits of laughter without reducing dram~tic interest or the
measure of the magical climax. For that, it is necessary, after the gag,
r the laugh that made the interest curve drop to the point of relaxation,
ecover attention, and tension with 1n
· might be done through our atti- f CLIMAX
e and perhaps with a brief recap
sc
a certain unexaggerated emphasis
the dramatic importance of what
about to come. The mild effort
· entails is well repaid by the joy
d pleasure the laughter generously Time
tributes. At the start
An example: If, when showing an empty box in which a girl wiU later
pear, we say something funny and witty, and the audience laughs, noth-
prevents us from recovering the dramatic interest as we continue to
ow the box, creating a more focused or more dramatic or more serious
itude, although not too serious or sad.
During a card trick-have you noticed from most of my examples
at playing cards are my passion, those fascinating little pasteboards,
doubtedly a product of the devil or of some tempting and enchanting
-devil?-during a card trick, as I was saying, you have the cards shuf-
ed. You then retrieve the deck and say, "I'm going to memorize the deck,
e order of the cards, with no mistakes. I have the second-best memory
the world. The best is ... I can't remember. "It is easy to recover interest
er the chuckle or smile that line produces.
Obviously, the stronger and longer the laugh, the more difficult it
to recover dramatic interest. A hilarious gag will take the spectators

422
totally out of the situation, and you will have to start from scratch.
simply funny, light-hearted line will produce a smile or, at most, mil
brief laughter, and will not pose a problem since it will cause only
slight dip in the interest curve, which can be almost effortlessly raise(l
back to where it was.
ATTEMPTED
CLIMAX CLIMAX
--------• I
; ~
CLIMAX I
ACHIEVED
Time Time
Steep drop in tension Slight drop in tension
And, as we saw earlier, the main factor of difficulty in recovering inter-
est is the positioning of the gag in time. The closer it is to the beginning of
the trick, the easier the recovery. The closer it is to the climax, the more
difficult the recovery, when it isn't impossible.
Setting the limits or borders on the curve, marking the areas of easy
and difficult recovery, is the task of essential intuition, a well-developed
sense in every good artist. The artistic intuition is nurtured by the innate
ability in each person, but just as much from the quantity and quality
of personal experience, lived and seen, witnessed, analyzed, reflected
on and internalized. Hence the importance of watching ( and enjoying)
good magicians and good comedians, especially the greats of silent mov-
ies: Keaton and Chaplin, Jacques Tati (silent by choice); then of spoken
film: Grou'cho and Harpo, Woody Allen, Toto, Fernando Fernan G6mei:,
Tony Leblanc; and of radio and television, like the Spanish maestro of
spoken humor, Gila; comedy magicians: Gaetan Bloom, Topper Martyn,
Los Hombres, Mac King .... From all of them we will learn, not only the
proper placement and quality of a gag but also the masterful management
of rhythm and pauses.
423
Or at the same time
this I mean situation comedy. This _.f/j. .,
.
way of presenting magic that pro-· E CLIMAX
Cl)
ces a mild and persistent smile in 1::
ctators, due to the personality
d style of the magician, or through a
eerful or mildly humorous develop-
ent of the trick, or through integration
.to an amusing, slightly absurd or self-
odying situation. At the same time
Examples would be the standard and marvelous patter for the superb
-Card Repeat, Fred Kaps's performance of Roy Benson's Long Salt Pour,
e situation that develops in tricks where a spectator's handkerchief or
tch is "accidentally" destroyed and then restored, Lewis Ganson's rou-
e for the Color-Changing Pocket Knives (in which a knife changes color
ver and over, and the magician appears not to notice, always referring
it as the white knife), the acts of Cardini and Gaetan Bloom, Dante's
ackstage Illusion", John Calvert's decapitation, and each and every one of
'the sketches and comedic magic-plays by a genius in this field, the incom-
parable Fu Manchu (his "Chinese Bazaar", "Death Chair" and Stomach
urgery... ). These examples show us how it is possible to achieve a perfect
symbiosis between magic and comedy in which the magic is of great quality
and feels so, while the smiles, laughter or irony season it, add cheer and
even help to improve the quality of the magic.
And here we have arrived at a type of positive relationship between
comedy and magic, where comedy doesn't fight the magic or harm it,
bu1 instead enhances it, helping to make the secret moves and even the
slightest trace of trickery disappear. It also sometimes gives the session
expressive and structural values, or helps to increase the spectators'
enchantment and fascination.
I will devote the last part of this study to the relationship between
magic and comedy. But first I should complete my list of ways to combine
comedy and magic without conflict between them.
N
Trick with a False Explanation
This is commonly known as a sucker trick. The magician seems to e
how the trick works, but the explanation turns out to be false or :
plete, and the trick ends with a better or unexpected magical ef:t
. ect.
effect sometimes cancels the possibility of the false secret explained.
surprise produced by the new and better effect makes the spectators
get the sensation of having been kindly deceived, and the final effect ne
fails to produce a sincere smile of enjoyment.
Running Gags
These are gags or tricks having a quick effect that is repeated in the
way several times throughout the session, at more or less regular interv
The effect doesn't need to be funny in itself. What's funny is the expec
and fulfilled repetition of it. Thus, in the Lota Bowl, water is poured fr
a vase, emptying it. The vase is then shown to be full again and again. T
begins to become funny on the second or third repetition, and its com
die impact increases each time, until it brings genuinely big laughs wh
repeated the sixth or seventh time. Furthermore, it becomes an evoki
hook that makes the whole session enormously memorable.
Comedy for Magic
Here comedy is in service to magic. It is something I have found over tM
years through my own experience and from what I learned from
and from what I have seen and studied, analyzed and tried to C,TTl'.1.l-,-IJrl.r·.'"J~lr.lnv.:···
Let me add: without synthesis, analysis may be academically brilliant
sterile, empty or difficult to apply in a practical manner to the art
I wanted a life born of synthesis. Bear in mind that analysis teaches, shows
and discovers, but it usually hurts, cuts, dissects and dismembers what iS'
analyzed; in our case, a sensitive and extremely delicate artistic work. I
am in favor of analysis as long as it is later synthesized into conclusions
ve practical applications capable of being proved and corrected in
.ce, and that can be internalized so that they become second nature,
ut having to be consciously appJied, but which reanimate, 228 giving
and bringing to life the very beautiful and fascinating, now living,
cal work of art.
1
ut how can comedy o.r laughter help magic? What doJs the service of
edy to magic consist of?
One form of this service is the improvement of som~ of the tools of
c-technical, psychological and structural-precisely those tools
to better conceal certain digital techniques that by themselves can't
·ve the focused attention of the spectator. With this, there is a stratifi-
n of techniques. As an example, let's take a sleight, the Top Change. It
vered by a psychological-physical technique, a moment of relaxation,
vided by a patter line, gag or simple joke. Thus, the sleight, which oth-
8
·se would be visible, when preceded by a gag ("It's the Joker. Jokers
wild."), is executed in the moment of relaxation after the gag. When
ompanied with precise timing-temporal coordination of the gaze,
ice and movements of the hands, arms and body-the difficult and won-
rful Top Change (maybe the best sleight in card magic) is completely
ncealed, invisible and unsuspected.
Another example would be the classic ("classic" meaning it fulfills its
ction perfectly) gag· used in The Die Box. When the die is to travel to
hat, the magician asks, "How do you want it to go, visibly or invisi-
?" When the spectators say, "Visibly," he visibly carries the die (with its
· cret shell) to the hat and, after the audience laughs, he appears to bring
UL.llLCJ!,~"'··· ut the die, actually leaving it behind and removing only the shell. The
eJl is later made to disappear in the Die Box, and the magical journey is
mpleted by taking or dropping the solid four-inch die from the hat.
Is there a better technique to justify the unavoidable load of the die
to the hat?
These are just two examples of the potential of comedy to help magic.
ere are other benefits as well. Comedy improves the mood of the
28. From "animate", anima: Latin for "soul", the gift of soul.
 session, the attitude of the spectators, the correction of mistakes; the j
tification of necessary actions that lack motivation and would othef"Wi
arouse suspicion, etc. 229
Let's look at them in detail.
Functions of Comedy in Helping Magic
1. PSYCHOLOGICAL
A. To CONCEAL THE METHOD
i. As MENTAL MISDIRECTION
I'll give an example: I am presenting the great Ace Assembly effe
using three double-faced ~ces (the method originated by Hofzinser and
commonly misattributed to "Mac" McDonald). 230
Before switching the regular Aces for the three double-faced ones, I
show them and say, "I have four Aces, two black and two red. A magic
pass and-they're all red!" I show them again, but two blacks are still
seen. ''All red? No?" The spectators protest, "No." I continue: "Well, they>
are all red-on the backs!" I tum the Aces over in a fan and their four red
backs are seen. This gets some chuckles. I proceed with the trick, switch-
ing the Aces for the three double-faced ones. ''So, four red Aces ... " Pause.)
"... on their backs!" I tum over the packet of four Aces, allowing the back
of the regular Ace to be seen. It is believed to cover the backs (actually
faces) of the other three Aces. There are smiles. Later, just once more (I
must be careful not to overdo the little joke), when I am about to vanish
one of the black Aces, I say, "This is a red one, right?" I look at the Sflec-
tators. Pause. Usually one of them completes the phrase: "On the back
More smiles.
229. Obviously, I am not saying that laughter, humor and comedy are the only
or the best methods to achieve the objectives I am about to comment on.
I
Poetry, emotions expressed through mime, gestures or speech, etc., are also
marvelous helpers when well integrated.
230. It is no trivial matter to attempt proper attribution to those artists who pre-
ceded us, to thank them for their artistic creation of methods and effects
they have given us, almost always generously.
fbrough this humorous sequence, we have powerfully instilled in the
of the spectators the belief that the Aces have backs. They have
d it, confirmed it and verbalize~ it themselves. n
.s brings me to a brief but interesting ( or so I believe and hope)
ent on the present topic. I think we should be well tware that, when
tators verbalize so~ething they don't see (like the brcks of the other
Aces,) they mentally see it and create a mental ima.ge
, of it-and that
probably make them evoke that image later, and the:r will beli~ve they
ally saw it. It is a principle I discovered and often use. Somet1me_s the
tators don't'even need to say what they don't see. We can say 1t for
and achieve the desired results. Here's an example:
I how the Five of Spades and say, "The Five of Spades. Four spades
s "
r the corners and one in the center. I'll leave it here, on the table.
wever, I've done a Double Turnover and left another card face down
the table. ''I put my finger over the Five of Spades, but not on this
de in the center." I touch the center of the back. "I prefer one of these
ades in the corners." I touch the four comers, above the four alleged
ade pips. When the card is then immediately transformed into the Jack
Hearts, the visual impact is tremendous. People really believe they
;ve seen the Five of Spades on the table, even though the card there has
. ) .231
ays been the Jack of Hearts (image ret ent10n
ii. As PHYSICAL MISDIRECTION
The spectators spot a feather duster in the pagoda and mistake it for
e back of a rabbit that is supposed to have vanished. When they see
hat it really is, there is always laughter, and this joke misdirects from the
e secret, the board that folds and conceals the rabbit in a hidden bag.
I think it was Slydini who taught me a ruse that I adopted in my han-
·ng of Vernon's Kangaroo Coins routine. The effect is that four coins
1. For this suggestion to w~rk well, it is necessary that the magician "sees" and
"feels" the spade pips as he touches the back of the card and ~efers to t~~m.
Slydini1 a mentor to me (and to so many), always insisted, The magician
must b elieve what he says and does. He should 'see' the magic powder he
sprinkles, and he should 'feel' the coins inside his fist-even though they
don't exist!"
N

penetrate the table one at a time and drop into a glass I hold under . TO CAUSE RELAXATION
make the first coin penetrate, there is a moment when I need to lap ughter, as we know, causes and is the result of a physical and s~me-
carry the glass under the table but, unknown to the audience, I rnental relaxation. Comedy is, then, a formidable tool for producmg a
mouth down. I attempt to pass the first coin by hitting my left fi s,w
t nt of relaxation during which a secret technique is ex~cuted or some-
'
holds the four coins, on the table-but nothing happens. Appealing made to happen that we don't want to be perceived 9y the spectators.
e rule here is the opposite from that stated earlieir for combining
cemed, I lean back in my chair to look at the hand that emerges With
dy and magic ("magic" here defined as the mome11-t of the magical
glass from beneath the table. This action pulls both hands back (the
always rules in the marvelous and unique methodology of Slydim, ') ). There we said that the laugh and the magic moment should not
at the same time. Here we will say that the laughter and the secret
the left hand reaches the edge of the table. As I tum to look at the 0
n to be con~ealed should indeed coincide. Laughter and effect, no.
hand, which holds the glass, and everyone looks there, I exclaim, "So
how could it go through! The glass is upside down. " My extended ter and method, yes.
hus: "Is this your card? No? Well, I missed. But if it turns out to
thumb, with the fist still closed, points to the bottom of the glass that
e card! ... " Laughter, relaxation and Top Change. ''Maybe magic can
coming from under the table in my right hand, and I drop a coin secre
e it transform into your card. We blow and-there you are!"
into my lap. As I tum the glass over, I bring my body forward, which n
n stage manipulation, using a gag to relax attention during which you
urally moves both hands forward as well. The left hand goes above
erceptibly execute loads and ditches is a formidable tool. Cardini's act
table, and the right hand, carrying the glass, goes back under it, to rece ·
11 of such moments, as are Fred Kaps's and other magnificent manip-
the coin when it magically penetrates the table. The spectators have se
ors' acts. Good stage illusionists also use this technique. Kio, the
the glass and have relaxed while laughing at the joke, not noticing that
minent Russian illusionist, had a clown play a joke on him and, during
left hand moved to the edge of the table. They haven't seen, and therefo
relaxed moment created by laughter, Kio's assistants took away, com-
don't remember, anything suspicious. The small joke of the upside-do
ely unnoticed, the illusion stairs that another of his assistants had
glass has caused the spectators to relax and has improved the deceptiv,
d when climbing up to and entering an empty cage. Eventually, this
ness of the move.
ocent" little staircase secretly carried off the same assistant. When
iii. As AN AID TO TIMING spectators later saw a lion appear in the cage, totally isolated from
If we understand timing as the coordination in time or c,:n.._1''":t.trc.r:.J,z:11.rc1
floor in the middle of a circus ring, they were astonished. Not only
they not noticed that the little staircase was rolled away, but they
tion of gestures, movements, sleights, words, gaze, etc., executed at
't even remember there was a staircase. During the relaxation period
appropriate moment, we know that we sometimes need an element
' owing the joke, which is to say, during the laughter, they not only
erally a ~ound, to cue us with a Now!, a Go!, that unifies the beginning of
't watch carefully, but-they also didn't register in memory what they
all those actions. That function can be well fulfilled by laughter, laughter
1

seen, thanks to Kio's perfect coordination of laughter, relaxation and

of the spectators that is produced suddenly and in unison. A simple Ha:!
can serve as a starting signal, because laughter also marks the lhr,.,rl,v.,.,,H,,G
cret action (the removal of the illusion stairs).
Now let's see in more detail the function of comedy in relation to
of the spectators' mental and physical relaxation.
This brings us to the next point:
 v. As AN ERASER OF MEMORIES
In Chapter 4 we dealt with "Magic and Memory". Under the hea
"An Almost Incredible Experiment" (p. 179), I described how-throug
sudden action in which mental tension is abruptly increased, deman •
total attention, after which the tension and attention relax~it is possi
to erase actions that have been fixed in the spectators' short-term me
ory.. The actions are forgotten because they have been prevented fr
passing into mid-term or long-term memory. Well, there is nothing be
to relax increased tension than a gag, a joke or laughter.
I explained how I startled spectators with a feigned accident-knock,.
ing over a glass of water or dropping my eye-glasses-and later .-t.......,<:..'--~·.1'T,v?r-:u,....
matters with a joke or gag. What happens on such occasions is that
initial tension, the little scare necessary for the gag, prevents or helps
prevent the undesired memory from passing into mid-term or long-te
memory. Although other strong emotions can achieve the same result
' d to hand and closing the empty hand as if it has received the coin. This
laughter is, to my understanding, one of the fastest and more efficient
'
and the one least likely to arouse suspicion of having been used to secret
ends. The joke appears to be only a little break used to enhance the pre-
sentation and add amusement. In fact, this is the truth, for to amuse is
distract, to divert.
vi. As A p ARENTHESIS OF FORGETFULNESS (Maestro Ascanio dixit)
The hands are put into their corresponding jacket pockets. The left
hand takes and secretly holds three coins. The right hand openly brings
out a pocket handkerchief, as the left comes out with the palmed coins.
The handkerchief is unfolded and seems to have a bum caused by an iron.
"I ironed it myself. " Laughs. It is left on the table, another clean one
taken froll). the pocket and a routine of coin productions begins. The
is a mild one, but it,causes small laughs, chuckles, and hinders the mental
connection between the hand that went to the pocket (the left) and
production of the coins. Without the gag we would have needed more time
misdirection, with an ensuing loss of rhythm. Also, by placing this gag
before the beginning of the trick, the gag doesn't fight the magic.
vii. TO JUSTIFY ACTIONS OR UNCOMMON ACCESSORIES
am referring here to certain actions required by the technique
1
ployed, or to certain accessories, necessary to the method or the pro-
ure of the trick, that are strange looking or unjustified in the eyes of the
dience and therefore are suspicious. With a joke, a gag er a prank, you
perfectly justify them· and avoid all suspicion. I think/ the example of
Die Box I described a few pages back provides a suffi~ient demonstra-
The Okito Box, an odd item to the average person,' can be justified
a .
calling it "the safe for my annual savings" or even something funnier
though I find that impossible).
viii. FOR THE LOGICAL DEVELOPMENT OF A FEINT
A feint is an action first done honestly, then repeated in a way that incor-
rates trickery. The feint-that is, the act of feigning-is done the second
e the action is executed; for example, pretending to transfer a coin from
e second action is the feint, as defined by Robert-Houdin and other old
asters. However, feint came to be applied more commonly to the honest
st action that simulates a subsequent dishonest action. I feel we should
efine feint as the combination of the two actions, beginning with the hon-
st one, absent trickery, and then the repeated action with trickery.
Although the feint is a classic weapon, it is little used these days; yet it
s a marvelous and enormously powerful resource. For example: The right
and takes a coin and transfers it to the left hand, which closes around it.
e left hand then opens to confirm that the coin is there. Fixation pause.
The spectators see the coin in the hand and make a mental picture of it
there. (By the way, the hand should be held in the same space through-
ut the procedure and not moved from there until after the hand is shown
mpty.) The right hand retakes the coin and the sequence is repeated (trans-
er to the left hand, left hand closes)-but this time a false transfer is made
and the coin is retained in right-hand finger palm. When the left hand is
@ubsequently opened, after some magical gesture or word, it is seen empty.
e contrast with the prior mental picture-hand with coin, hand without
 coin-makes us visualize the disappearance of the coin much more ~le
Therefore, the visual impact is much stronger and the magical effect :m
more powerlul than if the initial feint hadn't been done.
I feel strongly that both actions should blend together, forming a c
tinuous whole. If other actions are introduced between the honest acti
and the dishonest one, we would call the honest action preconditioni
or simply conditioning. Incidentally, sometimes the honest action, bo
in feints and in conditioning, can be repeated one or more times. Wh
the honest action is performed after the action involving trickery-eit
immediately after or later-perhaps with other similar objects (such
another coin), I call it postconditioning.
Extending our example: A pause is placed after the disappearanc
of the coin. The right hand then takes another coin and transfers it
the left hand, which closes. With an appropriate justification, the han
is reopened, showing the coin, and the action continues. The spectato
take for granted and are convinced that the previous time the coin w
also genuinely transferred and that they saw it in the left hand before it·
disappeared. The combination of preconditioning and postconditioning
enhances the magical effect in two ways: visually (the coin is seen several
times in the left hand) and conceptually (the coin going from hand to hand
is an honest action seen several times).
Obviously, after the postconditioning with a second coin, if the coin is
to be vanished, a different method should be used (sleeving, stealing it by
pinching it with other fingers, a Pull, etc.).
But what does all this have to do with comedy?
Well, one of the difficulties of the feint lies in how to justify why, once
the coin is held in the left fist, that hand is opened and the coin is taken
the right hand and tossed back into the left. It is here that the role
can get very interesting. For example: If, once the coin is in the left fist,
say, ''Sometimes we believe we have a hole in our hand, because the money
slips away and we don't know how. "Laughs. "I don't have one ... "The hand
opens, and the coin is seen and taken by the right fingers to show there is no
hole in the hand. Now a fake transfer is made, using the relaxation caused .
e laughter. "... because I'm a bit of a saver." Pause. ''But I do have the
of making money invisible." Magic gesture. And the hand opens
to show there is nothing to see! No coin! Climax. 0
;Here, comedy is used to justify the repetition and the transfers of the
as well as to create a moment of relaxation into whicr we insert the
et move. The latter has supreme magical value in itse~f, giving it suf-
nt justification. And as we know, the spectators' relaxation, physical
mental, is the most appropriate moment for executing a secret move,
it will be less perceived by them and less fixed in their memories, if it
omes fixed at all, making it impossible to recall later. Not only is the
ve (the false transfer) not seen, but the passing of the coin back and
is less clearly perceived. Therefore, an incomplete sequence will be
embered: "He had a coin in his left hand. I saw it there. He blew, he
ned his hand and it was gone!"
ix. AS A SECRET PREPARATION OR CLEAN-UP
Some tricks require secret preparation prior to performance: gath-
'ng the Aces while spreading the cards face up from hand to hand;
tting on an accessory such as a Nail-Writer or a Thumb Tip; loading or
ming an object such as a ball, a coin, or a cigarette; fitting on an assis-
t's harness for the Aerial (Broom) Suspension, etc. Comedy, gags,
es, laughter and smiles can be used to cover the necessary time with
cellent results. Time goes by more quickly and the spectators are dou-
y diverted, being amused and distracted without watching or paying
uch attention to our actions.
This can happen at the end of a trick or after afull pause for assimila-
n~when you need to clean up; that is, when a gimmicked object must
secretly changed for a regular one to have it examined, or when secret
cessories or gimmicks (thread, shells, etc.) must be put away.
Sometimes the gag itself can be the means used to get rid of the
wanted object. For example, when I use a Thumb Tip, I take off my hat
the end of the trick and, while making gestures with my hand of tossing
bins into it, I ditch the Thumb Tip there as I say, "You are applauding me,
N
but sometimes people throw money." I then put my hat back on,\ lea ,
the Thumb Tip in it. I remove it at the end of the session-if I remembe
x. TO HAND GIMMICKED OBJECTS TO A SPECTATOR
~ · Say that you wish to hand out a gimmicked object for examination
merely to be held, without the spectator noticing its trickery. Distracti'
caused by a joke or gag, and the resulting laugh, prevent spectators fro
worrying about the object and examining it closely.
The very act of handing out an object for examination or to
held makes everyone automatically believe that the object is nonn
"Otherwise he wouldn't hand it out." This is a marvelous strategy t
prevents an entry into the Cavern of the Secret, and I use it continuous!
larding on as much audacity and indifference as possible, equally in m
stage magic and in close-up. I'll give you some examples.
I leave a gimmicked Color-Changing Knife (one secretly having a differ~
ent color on each side) on the open palm of a spectator and put a nonn
knife on his other palm. This prevents him from using the second hand
turn over, play with, or examine the gimmicked knife. But this doesn't pre';'
vent him from turning it over with one hand. However, if I say, "Now you
know why they call me Juan the Knife," or I simply whistle Kurt Weill's well-
known "Mack the Knife". Everyone laughs-or rather, smiles-including the
assisting spectator who, entertained by the joke, doesn't examine the knife.
immediately, but unhurriedly, pick up the knives and continue with the trick.
Another example, also a personal one (which are the ones I know
best; that's why I tell them): When I do the Egg Bag-using the style
of bag designed by Malini, my previous incarnation-I make an
appear that a spectator "freely" asks for. This always turns out to be
hen's eg& (forced by a hand gesture I make). At the end of the routine go
to my violin case, to get a glass. There I switch the egg for a regular one.
I then bring the glass and the egg into view. Meanwhile, the bag is
232. On one occasion, at the end of my theater show, I took off my top hat in a grate-
ful gesture of thanks, and produced the beautiful and unheard-of effect of The
Flying Thumb, which I have refused to repeat despite its great success.
t the whole time. I immediately throw the bag to a nearby spectator
tell him, "Check that there isn't a hen in the bag." Everyone laughs,
uding him. "The other .day, mon~y came out of the bag and the per- n
looked inside to see if the Bank of Spain was in there. That's how
pear,. e. "More laughter. ·By ridiculing the searching action-a hen! the
l
1
of Spain!-the spectator doesn't go any further th~n a little feeling
maybe a squeeze of the bag. He then hands it back t1 me. I have been
ding my arm and hand extended toward him, "patit~ntly" waiting for
to examine the bag; actually prompting him to give: it back soon and
pass it to someone else. I immediately show the egg as I say, "And I
t to prove to all of you sitting far away, what those nearby already
w: that what appeared, disappeared and reappeared is an authentic,
real ... " I break the egg and drop its contents into the glass. "... hen's
. "A great Comet Effect sweeps us up.
It's easy to imagine the use of comedy when asking someone to inspect
gimmicked box or trunk in a large stage illusion, etc.
B. TO ENHANCE THE EFFECT
xi. To EMPHASIZE THE INITIAL SITUATION
Maestro Ascanio always insisted on the importance of clarity in the
·tial situation. Comedy can subtly help. An example in card magic (of
ourse!): "This deck is noble-like me." The deck is turned over and, as
give it a Hindu shuffle, it is seen to have blue backs. "In other words,
blue blood. " Mild laughter. With this, the spectators will have fixed the
leged blue backs in their memories, both visually and conGeptually. The
acks will later change to red, but the blue of the initial situation will still
resent on their retinas and in their minds. There won't be the slightest
ubt- instead there is maximum contrast.
'
Another example: an empty box. A spectator is asked to put his hand
side to check. An attempt is made to close the box, as if to trap his
and inside. At the same time, a knife is displayed. ''I need a hand for
is experiment." A scare and laughs. The spectator's hand is allowed to
cape. When something or someone is later seen to fill the box, everyone
 will remember initial situation of it being totally empty, tha:hks t
magician's menacing joke. 233
xii. To BETTER FIX AND EVOKE IMPORTANT PRIOR ACTIONS
''Do you know how to shuffle with your hands above your head?
Very good!. . . You 're the best shuffler in the county. "Laughter. At the
of the trick, when, say, all the clubs appear in order from Ace to
you can easily make people recall the shuffle by raising your hands a
your head, imitating the spectator's shuffle there, and repeating, "The
shuffler in the county. " Everyone will be sure the deck was shuffled
that makes the effect more powerful.
2. IMPROVED PRESENTATION
xiii. To COVER DEAD TIME
These are those long, boring but necessary moments: finding the
teen cards of one suit in the deck, one or two spectators tying up
magician, having the cups or boxes or rings examined .... A little line
intelligent humor or a good small gag helps to cut the subjective time c
sumed and to keep the curve of dramatic interest up. The alternative
negative one, sometimes significantly so; a loss of interest with ensu·
obstacles for our main objective: that the magic is ultimately felt in all
wonderful power-and that the audience doesn't become bored!
xiv. As AN Our, AFTER A TRUE MISTAKE
After an unexpected mistake or accident or in any embarrass·
situation, a timely joke or gag that produces laughter is the most po
erful weapon I know to prevent the negative sensations these situati
always produce, in the spectators and in the magician himself.
having experienced that sensation, the spectators will easily forget ther
I
was a mistake and will sometimes come to believe the mistake wasn
genuine. "The magician did it in order to make that joke." This will
233. This gag could also prevent the spectator from taking his time in exami ·
the box, which could then have a false bottom, etc.
. the case if the attitude of. the magician ( so very important!) is
1a11Y
1,as if the situation hasn't surprised him. On the contrary, he can
an exaggerated distress that is ~learly noticed. In this regard, I use n
~~ tha
t has. always given me magnificent results, and I have shown
I
other magicians: I think, before I appear in front of thF audience, that
ing to make three mistakes in the upcoming sess~on and I say to
lf something like: "Let's see if I can do it: three little_mistakes. Come
an! Go for it!" When a mistake happens-quite oft~n in close-up or
r magic, sometimes by chance or through the action of an assistant
' tator-the first thing l do is grow happy ("I made one already") and
ess my joy, sometimes in a very pointed way: "That's it! Great!" This
les the spectators, who consequently don't experience any negative
ations. Why should they when the magician is so happy! Sometimes
believe they have not understood the nature of the trick, or they
the magician has purposely made the mistake in order to make
ke after the mistake. Sometimes I improvise the joke, other times
;ve one prepared. A generic response good for many mistakes is to
claim in an exaggerated and badly acted manner, "Oh! I missed! This
horrible! liVhat can I do? I'm going to commit suicide ... " I say this
'le holding my head between my hands and looking scared, but with a
le smile and my tongue in my cheek. When the spectators realize I'm
t serious, no one believes the mistake was real. Naturally, you need to
low up with a good resolution.
I am usually prepared for many mistakes, some solutions being
eric, others specific. Here's an example: In my Paris Act,. I have to lap
ds repeatedly: all the signed Aces and other cards. Should one of the
s drop to the floor when I've tried to lap it, I say, "Uh! Someone has
mitted suicide!" and feign deep concern. I crouch while my left hand
two or three cards from a Crooked Deck (novelty cards shaped like
~igzag) that I carry tucked in my sock. Meanwhile, I use my right hand
ick up the Ace from the floor and secretly leave it in my lap. I imme-
ely transfer the crooked cards to the right hand and bring them into
w. With a smile, I say, "Well, they didn't die, but they're a little under
 vvv•LAlv,.,,e,,, "That line, along with the sight of the grotesquely
8
cards, never fails to produce laughs. And, of course, everyone t ·
was all a joke I introduced on purpose. I then continue with the trick
people tend to forget even the gag, and therefore much more: the
dent, the "nonexistent" mistake. 234
If a second mistake occurs, I feign even greater joy; and should
third one happen, my pleasure would be orgiastic. 235 The point is truly
feel a certain joy at having made the mistake. I do believe that a mist
humanizes me. It helps me not to fall prey to stupid pride. It brings
closer to the spectators and puts my improvisational skills and creati
to the test. There is also satisfaction in overcoming difficulties. That's'.
wonderful thing!
In an upcoming section of this book you will find more ideas for so
ing mistakes (p. 495).
234. On one occasion, when I used this strategy, it was impossible to contin
This was at the wonderful F.F.F.F. magic convention organized by my frie
Obie O'Brien, in Buffalo, New York When I bent down to pick up the dropp
Ace, I couldn't find it because the floor was littered with cards, some face
some face down. The great (in every respect) David Williamson, who p
ceded me in the show, had thrown hundreds of cards into the air in one
his hilarious jokes, and the floor was ... the way it was! Through my natur
kindness, David continued to live, but I almost died laughing.
235. One of the magic friends to whom I showed this technique won an intema..
tional award with an act in which he unfortunately suffered several mistakes;
but he resolved them with great wit and a growing joy that he displayed to
the jury, aided further by his deep knowledge of magic, which helped
solve the problems in a very magical way. The worst of them happened whea
he showed a court card and saw it was the wrong one. He waved it in
a way that you couldn't tell which court card it was, while he called
right card, thT one he should have been holding. He almost yelled and he
jumped around, uncontrollably full of joy. The entire jury and most the
audience, all magicians, believed the trick had been successfully concluded
and shared in the performer's happiness. By the way, he won an even higher
award at the next international convention, this time without mistakes. The
magician was none other than Pepe Carrol!
TO CREATE A COMEDY SITUATION OR A STORY
THAT INCREASES FASCINATION
ere we'll consider comedy situations that accompany the magic
out disturbing or spoiling it. Remember the considerations we exam-
earlier for comedy and magic "At the same time", fVhich is one of
preventatives given earlier to avoid comedy fro~ hapni~g the ma~ic
423). We wish to add new emotions to the genenc emot10n of mag~c.
a
e could arise from situation with very mild comedy, imbued with
thearted mood or, better still, irony: The magician makes a pocket
e change color several times but pretends not to notice. "I will now
mpt to make the knife disappear, but it needs to be white, and I don't
w why, but I can never achieve that." (Lewis Ganson) The smiles
er leave the spectators' lips, yet they are astonished and charmed by
e continuous color changes of the knife.
I present my All Backs routine with a similar concept, complaining about
absurd reactions of some people who, in a previous session, were not
azed at the magical things that happened, in my opinion, to the Queen
Clubs. Meanwhile, I am showing cards with backs on both sides and no
ces, pretending not to notice the strange situation and acting as if I were
ruidling a regular deck of cards. The impression given is that I'm kidding as
quickly show a deck with backs on both sides, which I've expressly taken
ut of an odd-looking card case. When the face of the Queen of Clubs and
e rest of the faces surprisingly appear, it is truly unexpected and powerful.
This solves an extremely difficult problem in this trick: With the excep-
ion of the excellent premise devised by the creator of All Backs (Vernon),
's very hard to make people believe that the cards actually have two
a'tks rather than thinking, "He is showing me only the backs and skillfully
,concealing the faces." The trick changes and increases its intense magical
potential thanks to comedy, to irony. It is in this approach that spectators
tan feel the magic and the beautiful symbolism, in a subconscious way, of
assing from the void, from nothing (a card without a face is a zero, with-
ut life, and all of them together are nothing) to plural and individual lives
(when the cards acquire their varied and multiple identities).
 xvi. As AN AID FOR THE GOOD STRUCTURE OF THE SESSION
The introduction of a gag or gag-trick now and then is sometimes bene
cial for the structure of the entire session. It creates a moment of relaxation
in_ the spectators, especially during long sessions from one to two hours,
That moment of comedy (especially if there is laughter) allows the
spectators to move and stretch their necks. As they laugh, they usually
turn and move their heads and bodies. Diaphragms contract and lungs
recycle oxygen, preparing the spectators to watch the subsequent tricks
with bodies relaxed and minds more joyful, more animated. Everyone has
felt new sensations and has taken a break to avoid a saturation of aston-
ishment and continuous blows to his logic.
But let's remember once more that this is valid only if the comedy is
not forced, if it flows naturally and suits the style and true personality of
the magician. Otherwise, there are other means to achieve the same end:
dramatic or lyrical stories, musical pauses, choreography, allied or para-
magical arts (ventriloquism, pickpocketing, hand shadows, certain escape
effects, tricks employing the body or hands of all the spectators, etc.).
A trick that is simply repeated at more or less regular intervals, between
other tricks, can become a running trick or a running gag that produces
smiles and laughs. I discussed the running gag earlier in this chapter, but I
want to underline its value for improving the magic session as a whole.
3. IMPROVED COMMUNICATION
xvii. FOR A WARM-UP OF THE AUDIENCE
In specific situations such as television shows and DVD recordings, a
trick with comedy, or a comedic piece that includes a trick, helps to warm
up the audience before beginning the broadcast or recording. If laughs
are produced along with some astonishment, the audience will be more
receptive and more familiar, more in tune, with the magician at the begin-
ning of the recording. The spectators will not be caught unprepared and
everything will flow much more smoothly. I use this practice whenever
possible, and it has proved extremely valuable. The ensuing broadcast
or magic recorded was received more warmly and with more interest.
erefore, emotions and sensations experienced by the audience
ere, I believe, of a higher magical quality. The audience has almost sur-
~dered at the start.
I should point out that, in my experience, this humorous warm-up is
uch more effective than a serious magic effect, becaus~ laughter relaxes
I
e spectators and connects them to eac~ other. It brings them together
d creates sympathy between magician and audienc~, and among the
ectators themselves. Remember that, at the start, magic needs to strug-
e against a certain skepticism, if not against a sense of challenge, or
stration in some. Laughter doesn't. Laughter transmits and receives
good feelings directly.
Some television shows, mostly English-speaking, hire a comedian to
host the preshow and warm up the audience before the taping begins.
As positive as that is, it is my experience that it is much more useful if
the magician himself, in an informal mood, approaches the spectators
and shows them a quick effect with comedy while he talks to them, asks
for their help and gets to know them. Magicians with the repertoire and
sensibility to do this (as long as the imposing and somewhat chaotic orga-
nization of the TV station allows it) have an important advantage.
xviii. TO CAUSE GROUP COHESION
As I've just mentioned, spectators who laugh are psychologically
brought together as a group. They are no longer isolated individuals sitting
close to other individuals who are also isolated. After laughing together,
as when applauding together, they are already part of a cohesive group.
emotion now felt by anyone in the group will resonate with the others
and be amplified in each of them. Laughter, with its unparalleled power
for contagion, enhances that union and gives the spectators confidence:
"I'm not the only one feelJ.ng that this is not possible, I am not stupid. I
am not frustrated because I'm amazed. The same thing is happening to
everyone in the group. I can be fascinated without any anxiety. We are
astonished. We are experiencing the impossible, the desired, the marvel-
ous. It's a shared dream. It is magic."
 xix. As A REST FOR THE SPECTATORS
This.is .almost the brother of Point xvi
. ' but with differe n t nuance
Magic is a very demanding art·' terribly demanding . The spectator
to watch constantly, to pay attention to everything that takes place .
doesn't want to miss the magical effect (the emotion of the·imposs
· '
If
. he looks away. for a moment, if he is mentally distracted fo ronl
ms~ant from what is going on, when the impossible effect arrives he
believe and feel he missed something during the moment of d"ist ractio
. tis also true that applause partly fulfills the function of physical relax-
and that something would explain everything and kill the impossib.
an essential condition of magic. There will no longer be a secular mira
And ~ot only should the spectator be permanently attentive to what
sho~ him, but also, in some way, to what is concealed from him. This
particularly true during the first part of the session and for a certain type C
spectator, those people for whom it's more difficult to detach moment
from an untamable logic before they feel the impossible. The usual co
tion of a rational human being asks us to discard the possible and fill"
. m
impossible; in other words, to eliminate the possible rational solutions
would explain everything in a logical way. This is what motivates us to
attentive, watchful and to maintain a certain state of doubt; a certain w
ness in some cases, in some people.
As if that weren't enough, we ask the spectator to remember all t
facts we are feeding him: ''Remember the selected Seven of Spades. Ke
in mind that the deck was shuffled. Don't forget the Jokers that I left face
up under the deck .... " Or "These two handkerchiefs over here are tied
together. One is red and one is green. Those over there are untied
loose. One is white and one is blue .... "
. Also, sometimes, when the first impossible effect is presented, ro,:i,c:,rn'\
reJects it and forces the spectator to use logical analysis and intelligence
to try to deduce tunsuccessfully, we hope) a solution. This can happen
even if the spectator doesn't wish to do so, even if he is eager to
the fascinating emotion of magic. For many rational humans it isn't so
' carried away and make him wish to be led by the magician and guided
easy to accept all at once the experience of the illogical, the anti-rational,
the impossible. If later in the session, especially in its second phase, the
;tor comes to accept the impossible, to feel the wonderful, that's
er matter, wished for, looked for and, let's hope, attained.
e fact is, one way or another, th~ art of magic intellectually wears
e spectators, especially during the first part of the ses~ion. And that
ectual fatigue transforms into physical fatigue, into a ldss of capacity
ention, into a desire .to relax physically and mentaJiy.
I
And all this
make it difficult for the spectator to follow the next ;trick and fully
the magic that awaits him.
n for spectators after their effort, aside from serving them as a means
press themselves and express to the magician their joy, their plea-
their emotion, perhaps their admiration, and ideally their love. But
' session often needs moments of rest. The beautiful, poetic tales
agic
Rene Lavand, the intelligent commentary of Max Maven, the sensual
oreography of The Pendragons or the colorful ballets of Fu Manchu all
l the function of rest. Robert-Houdin inserted brief musical interludes
a chamber group between tricks.
There is no doubt that every time there is laughter, either between
ks or at the opportune moments discussed, sprinkling (without drown-
the magical development of a trick, we will be achieving a physical
d intellectual rest, causing the spectators to relax, so that they will be
le to enjoy more thoroughly, with more concentration, more intensity,
e moving and fantastic moment of magic when it arrives.
xx. TO SOFTEN THE CHALLENGE
As I've mentioned, I think the attitude of the magician, his genuine inner
itude that he displays and communicates externally, is very important in
ftening the undesirable personal challenge some spectators with certain
securities might feel toward magic. Comedy can also fulfill that function,
pecially at the start of a session, when the magic hasn't yet captivated
d totally enchanted the spectators. Some gag or an intelligent, subtle and
umorous embellishment, no matter how light, will enable the spectator to
ong The Magic Way to enter and float into The Magic Rainbow.
N

xxi. FUN. JOY

It is pointless to deny the wonderful sensation of joy and cheerfulne edY is not necessary. Magic can stand by itself. But if we really have a
that comedy produces, especially if it is intelligent and positive. Even rful side and want to express it, .comedy can be added-with extreme (j

great Spinoza and Schopenhauer have thought, each in his own way, th e (danger!)-to magic, seasoning it to improve it, cnrating the exqui-
joy was an objective to search for and achieve. It is "the only true curren treat of magic.
for happiness," wrote Schopenhauer, although he is sometimes referr
to as the philosopher of pessimism. In all modesty and humility, I joint medy for Magic (Recap)
illustrious duo.
PSYCHOLOGY
Laughter, when not a cheap laugh, when not produced by physic
or mental tickling, is a direct and lively road to joy, to enjoyment, to th A. TO CONCEAL THE METHOD
pleasant and joyful state of cheerfulness and happiness that is share i. Mental misdirection
ii. Physical misdirection
and resonant. A mere glance at an audience shaken by laughter is enough
to show us how contagious it is. We end up laughing, or at least smil-. iii. Timing

ing, without knowing why. We all know how compelling a sincere and iv. Relaxation. Attention
happy laugh is, sometimes melodious, at other times loud. And all of that v. Eraser of memories
without forgetting the pleasurable sensation that smiling or seeing oth. . vi. Parenthesis of forgetfulness
vii. Justification of actions or accessories
ers smile produces in us. Look at the smile of a baby or at his laughter,
It is truly fascinating. And that fascination is precisely what we want our" viii. Feint
ix. Secret preparation and clean-up
spectators to feel, the inner child in themselves, and in us, upon experi-
encing our magic. x. Gimmicked objects
B. To ENHANCE THE EFFECT
xxii. As A MEANS OF SELF-EXPRESSION xi. Stressing the initial situation (to evoke)
Humans that we are, even though we play at being gods, magicians xii. Fixing and evoking actions (positive)
are not one-dimensional beings. We have different sides, some better,
. PRESENTATION
others that could be improved. When we, as artists, attempt to reveal our-
xiii. Dead time
selves, to express ourselves through the language of art (magic, in
xiv. Outs
case), comedy can often reveal one more facet of our true personality;
xv. Situation of comedy and fascination
most pfayful, more joyful and more festive aspect. This obviously depends
xvi. Structure of the session
on whether we genuinely possess that facet, on whether we are truly or
partly humorous and are not using comedy for a simply utilitarian COMMUNICATION
pose, attempting to please, to be "commercial". xvii. Warm-up
Since this subject is so complex and depends on the sincerity xviii. Group cohesion
which we view ourselves, each reader must decide for him- or herself. xix. Rest
 xx. Softening challenge
xxi. Fun and joy
xxii. Self-expression
e, two, three and-four apples in the air!
In the beginning it was juggling tricks interspersed wit;h the stunts and
roersaults of the jongleur. The bottle balanced on thd tip of the cane
. I
1

t is supported on the nose.

One, two, three and-four apples in the air!
In the beginning they were feats of skill, making the <lµlicult easy. Even
ough an apple is,dropped sometimes, it is picked up, another stunt, another
mersault, one, two, three ...
... and four peaches in the air! How skillful!
And then just one. Only one in his hand? No! In the other.
In the beginning it was surprise at the agility of the acrobatics, at the
culty of the juggling feats, at the sleight-of-hand.

ter, in the times of Anderson, an Englishman known as The Great Wizard

f the North, different, diverse and varied objects were manipulated: the
gg taken out of the mouth, the playing cards appearing in the hands, the
abbit brought from the top hat.
And the coins and the watches that are hidden through fast movements,
hich later-how fast!-come back into view. He hid it so well!

Robert-Houdin and Bosco, always with their sleeves rolled ·up-nothing

p those sleeves, nothing over here, nothing over there; and Le Roy, the
eigian, with the billiard balls, such surprising sleight-of-hand (sleight-of-
and artists!); and Dr. Elliott with the cards, such beautiful, such intriguing
manipulations (manipulators!).

The Marvel and Amazement

But come in and watch! Geoffrey Buckingham and T. Nelson Downs are
eady here. A coin out of nothing, and another, and another, as many
N

as ten, filling hands, without the need for apparatus or acce~so
barehanded.
And Edward Victor and Ron MacMillan and Flip and Richard R
now flourishes are interspersed with juggling, sometimes only as e
lishments, other times as conjunctions of the phrase that constitutes
they're they are back, then they are gone, now in the hand, then
he handkerchief. How is that possible? And smoke comes out of his
uth. Lots of smoke, a human volc~o. But Frakson speaks all the same.
uses magic words of his own: "Cento ma cento." "It's not possible,"
ectator seems to respond. Where is he, this person? ~d the smoke
I

routine (a structured assembly of moves, productions, multiplicati ntinues to billow out. Fr.akson wants to control it. He drp.nks water, but
1

changes in size, form, color-an act in itself). See;rns impossible.
·Where do the thirteen large billiard balls come from? And the cigare
of the Spaniard Florences, who throws one away and produces anot
and another. Are they inexhaustible?
Surprise, intrigue, amazement, marvel and amazement
of open-mouthed spectators; mysterious and Kabbalistic passes for
smoke goes on and on, and then there are more ci~arettes, and he
ks more water, and the smoke goes on and on, and suddenly there are
more cigarettes, and Frakson, with his unquestionably empty hand,
tches from the air an invisible cigarette that materializes at his :finger-
the min s, burning bright, with the bluish smoke of magic.
And Frakson smiles at the imaginary spectator: Yes, it is possible! And

disappearances, gestures of a rare elegance, of incredible beauty, of po shares with him the joy (or the mystery?) of the cigarettes that are seen
erful expression. d not seen, that are there and are gone, that are and are not.
Now...
Mystery Now it's the magic! And from that "now" comes Mahka Tendo from
Already the day before yesterday, emerging from Wales, Cardini, at whos pan, Peter Marvey, Norbert Ferre, Yu Hojin, Lukas and the Korean
:fingertips fans of cards appear. He throws them away. But more fans hool, Miguel Mufioz, Hector Mancha ....
cards persist in appearing. What a nuisance for Cardini. What's going
Nothing is understood. It can't be. Technique conceals technique.
And the canes and the lit candles that emerge from the hands, from
the arms, from the body of the Dutchman, Fred Kaps; and the banknote$
and the giant coins that appear and multiply, that materialize in the air at
the touch of his :fingertips, and he throws them away and there are always
more. What can one do?
And the inexhaustible salt that pours out of his fist, and pours
pours, and falls and covers the stage. Kaps himself is amazed. He r1,...,.,.,..,,.. •••
understand anything. What's going on today? He wants to stop but
can't. The salt-incredible! impossible!-doesn't stop pouring and it g
on and on ....
And all because of the arrival of Frakson Jose Frakson a genius
' '
Madrid, and his cigarettes that seem to throw, I don't know, little mag.:
ical sparks from their lit tips; cigarettes that are between his lips, and

Mentalism
All of magic is mentalism. All magical effects take place in the spectato
mind. It would therefore be somewhat artificial to talk of mental mag
as a branch of magic. How a trick is presented determines if it is to
considered mentalism or not. But any trick can be presented in a way th
makes it feel like mentalism, out of the ordinary, paranormal. Even tho
tricks that seem inappropriate to be represented as mental effects can be
made to feel like mental magic. Even the simulation of the most physi..
cal and apparently least mental phenomenon could be made to look like
mentalism. Hofzinser did it: He converted a Cards Across effect through
presentation into an increase of the number of cards a spectator guards
under his hand by the exact amount the spectator chooses. Spectators can
even be made to believe that they are witnessing a genuine mysterious
phenomenon the cause of which is unknown to all, including the mentalist
himself. The ultimate example: a very simple, very material trick, bend--
ing metal, done without refined physical techniques but presented with
energy, with the gifts of a showman, with the right publicity, through the
right media. Bending a little metal spoon in the spectator's hand on televi-
sion contributed to Uri Geller's fame and the belief across half the world
that he had an exceptional mind! 236
On the other hand, I fully understand there is a small ethical problem.
Should we or should we not make clear to the spectators that our mental
effects have a, say, secret method? I think it is a matter of goals. If
goal, when presenting magic as mental phenomena, is to make my spec-
tators believe that I have psychic powers, it is clear that it should not
represented as so~ething with a sly secret. If my goal is to make as much
money as possible, I think in the short term it is preferable to pass oneself
off as a medium or "gifted" person (although it can be counter-productive
236. Although leaving art and falling into the sad practice of deceiving people by
pretending to have supernatural powers (sad).
n) should I make it understood that there is a secret
the 1ong ru . . .
" od if my goal is to leave my spectators confused. If what I seek 1s to
· · People , sometimes
hten · people
· who
_ have personal problems, to the
t of a sort of hysteria, there are perhaps more effective ways to do
"magi·c"·, with confederates and stooges, for example/ or taking it to
I
limit, presenting our s~ssion in a cemetery, etc. !
But if my objective is to play along with other peop~e (I play magi-
they play spectators); or if my goal is simply to ent~rtain or amuse;
' .
believe in the enormous capacity of art to fascinate without resortmg
1
dishonest deception; if I believe that the imagination and fantasy of
ectators can be made to soar through a superior presentation of magic
th a mental flavor; if I am confident that my behavior or, rather, my com-
rtment during the trick can create a suspension of disbelief (illusion);
I understand that, during a movie, I as spectator laugh, grow angry,
t excited, become anxious, feel emotion, thanks to the power of the
maker combined with my own voluntary interest in believing what I
ow to be mere images and pure fiction; if my goals are some or all of
above, and if I try to communicate with others who play along with
e in both meanings of the word-normal play and playing a fictional
' the role of spectators who are going to be enchanted by my magical
ole,
s-then it becomes evident, at least to me, that I cannot and should not
nceal from my spectators the fact that I resort to natural means, that
here is trickery. I cannot conceal it from them, because otherwise those
goals I seek become inaccessible. I can't conceal it, because I would be
going against the objectives I am setting for myself. I just can't. Therefore,
should make it very clear in the spectators' minds that we are in the
ealm of art, of illusion, illusionism. That there is a secret, a trick.
Perhaps because of a conscious or subconscious desire in some of
y spectators to believe in· something mysterious, of an esoteric or reli-
.ous nature, I might not always manage to make my role crystal clear,
t I strive to achieve it. The problem, which does exist and is very real in
some cases lies in how to manage fixing the desired notion in spectators'
'
inds, leaving no room for ambiguity (no "You may judge for yourselves if
N
this is genuine telepathy or not") I this is of utmost imp
tance-without lessening the impression of mystery, without breaking
magical atmosphere, at least during the performance of the trick. Th
another question each of us must resolve as he thinks best.
· It is my profound belief that the artist-magician-whether mentali
escape artist or card-worker, it makes no difference-can be an artist
0
when he fulfills his functions of enchanting anq. fascinating with fictio
When it is explicit that it is a show of artistry, when the expression
is no deception because we all know that there is" becomes valid, do we
distinguish it from fallacy, from an intellectual scam and from a mental
swindle, all of which would be giving up art.
An artist doesn't try to make you believe that something not real
real. Naturally there is a span of time while experiencing artistic work
when the spectator voluntarily decides to pretend he is witnessing reality
and feels emotions, just as he does when watching a movie. We would
have no doubt, not even for an instant, that we are playing the game of art.
That makes art different, by the way, from dreams. During a dream,
we believe what we dream to be real. We suffer the horror of the night-
mare, etc. No one would volunteer to have nightmares; yet many of us
do like to be scared and feel the fear or horror created in a suspense or
horror movie.
But returning to our main topic, I will stress my opinion that if, for
example, you make someone believe that some :fiction you are narrating
is true, your behavior ceases to be art and becomes a joke, a deception, a
fabrication. Art has an implicit "Once upon a time", which announces our
entrance into another realm, that of artistic reality.
In other words, the only artistic form is decidedly that which canies
an utterly evident clarity, with no doubt or ambiguity, that what is being
presented is fiction, that it is not real.
Two objections often arise when facing this, especially in the realm of
mentalism.
First: Don't we lose some impact if we clearly tell people that what is
being presented is not real?
Second: If we it at the end of the representation that it
a fiction, isn't there a danger of disillusioning or disappointing our
ctators? _ n
Regarding the first objection, I would pose the following. If, instead
writing a short horror story to be published in a newsp~per, I write the
e little tale in a way trtat seems real, and publish it ip the news sec-
or in the society pages, without any warning or difference to genuine
ws stories, it will undoubtedly cause much more emqtional impact in
ders ("1\vo children have been killed, decapitated and dismembered").
t it is not art; ft is a deception, and the emotions created will be of a
erent quality from those felt by the reader if I publish the story in the
erary section, presented as a tale of :fiction.
Of course, it is much easier-a word always in conflict with art-to
press readers if they believe the story is genuine news. But, once more
insist, the emotions differ from those felt during the reading of a liter-
tale. And you don't need any special literary gift for the news. The
ad.lines accompanied by a plain and simple mention of the horrible
ent would suffice to raise emotions in readers. Attaining the same, or
en a minimal, emotion in readers of the tale requires a certain talent
r suggestion, formal beauty, mastery of words; in sum, literally art. It is
itely more difficult, infinitely more beautiful, to be a poet than to be a
The experience of the readers is stronger when they believe a real
event has just occurred. But stronger doesn't mean better. It's different,
t's ·something else. In one case, people believe they are facing reality,
hile in the other case they know they are facing fiction, facing art.
"'How easy it would be to walk up to a group of friends and impress
them with a touching story of how you have just witnessed a couple hit by
a car as they left the courthouse after being wed. In her last agony under
the wheels, the bride, in an advanced stage of pregnancy, gasped out her
last words while holding the dead groom ....
But how difficult it would be to touch people if that story were nar-
rated by an actor in a performance, from the beginning of which they
 sensations be stronger in those who believed, in good that
knew what are going to see is fiction using actors, decor, Ilgh
had attended a demonstration of real powers (mind reading, etc.), and
~ritten script, theater _elevators. But this is art. The other is deception
~ome to realize on their own-w~ether the next day or years later, it 0
m the best of cases, a Joke, although not one in good taste.
difference-that what they saw was not true, that it was fiction.
The deception creates a stronger impact and it's easier. The arti ~n0 ,
There have been, and there are today, purposely artisti9 compromises
truth causes a different emotion, more difficult to attain, more beaut
rren Brown and other~). The difficult, desirable and ~eautiful thing
The second objection-deception or disillusion occurs if the n 1

at, if they tell us the equivalent of "Now we are goin~ to present the
reality of the performance or story is revealed at the end-almost fa
vie, with actors, a script, staging, with static shadows that appear to
away by itself after what has just been described. In any case, th
ve on a flat screen, with all the tricks and effects and artifices of film,"
always remains that way out of the conflict: making the spectators tem
can still feel tenderness, happiness and sadness, fear and horror, a
rarily believe they are confronting reality ("I am truly capable of readi
e of adventure, grief and laughter and joy, a lump in the throat when
minds"), and then, after the effect is over, disabusing them of that belief
' aplin is not recognized by the blind flower-seller, the serene placidity
a clear way, leaving no ambiguity. Doing so, a stronger impact is achieve
the pirate ship sailing the South Seas with Errol Flynn on board, or the
during performance, and later it is made clear that what was seen w
sionate and profound loves of Humphrey Bogart and Lauren Bacall, of
fiction. No one is deceived that way.
·zabeth Taylor and Richard Burton, Meryl Streep and Robert Redford,
But-and there is a but-I feel with certainty that, if a stronger imp
the tremendous metaphysical game of chess between the Knight (Max
is achieved by the performance of phenomena believed real, at le
among the credulous and those lacking the analytical judgment to rear n Sydow) and Death (Bengt Ekerot).
The eternal drama of love and death in a work of fiction: the extremely
that someone who could actually read minds would be working for the
cult and beautiful art. The other thing is a scam. An easy and ugly scam.
FBI or CIA, when it is revealed that the performance has been a fiction
" Note: Do we need to say that many times, so many times, scams pro-
the spectators will certainly feel disappointment. Perhaps not just disap-
uce more money than art? Whoever adores the golden calf can choose.
pointment and disillusionment, but also frustration and distress at having,
been deceived. In extreme cases, it can be irritation tinged with disdain
for the magician. All this occurs without including my earlier observation.
regarding the great difference in the emotions felt when we believe some,.
thing is real and when we know it to be artistic fiction.
In the example I gave of the news story about decapitated childre~
imagine how "funny" it would be if, after reading the news, with the
ror and th~ feelings of compassion it produces in us, we found on the
page that the news, on the front page was fiction.
I'm not dealing just with an ethical problem here but with an aesthetic
choice; one involved in artistic honesty, objectives and results. The dis-
appointment, ensuing indignation and possible disdain at being scammed
are not, at least for me, desirable objectives. And it should be stressed that
ABO CTlON
 ABOUT THE CONSTRUCTlON
OF THE SESSl ON

WILL start with some terminology, so that you can better understand me.
will define some terms I will deal with later.

EFFECT: An impossible, magical, phenomenon.

TRICK: The whole procedure of the effect, including everything from the
presentation of the props to the magical climax. A trick usually lasts
from three to ten minutes. It normally consists of a single magical
·effect, although that effect can sometimes be repeated, such as in the
Ambitious Card, the effect of which is repeated several times but is
""perceived by the audience as only one effect: A card lost in the center
of the deck rises to the top. A trick can also include or combine more
than one effect, such as Triumph: the cards right themselves and a
selection is found.
ROUTINE: A more complex structure than the preceding. It is a series of sev-
eral tricks. There is a certain uniformity that brings the tricks together.
That unity may be apparent or concealed from the spectators.

ACT: A performance of at least ten to fifteen minutes. It usually c
tains several tricks or routines, sometimes unrelated to each ot
Examples: the classic variety or music-hall acts of the twentieth c
tury or the acts in gala shows and competitions at magic conventio
SESSION OR SHOW: A series of tricks and routines in one or more parts, Wi
an intermission. A session can be improvised or structured; it can
on stage or close up. It is usually something thought out and can 1
an hour, an hour and a half or two hours. For this, we select vari
tricks, consider the order of their presentation and build a progran{
Now let's start with:
THE ROUTINE
Uniformity may be supplied by the objects we use. Perhaps all the tricks
perform are with balls or with cigarettes or pocketknives. But the unifo
mity can also come from a theme. For example, we perform two or thr
tricks based on the color of the cards: You start with two red cards that
change places with two black cards; then four red and four black cards
are used for an Oil and Water routine; ten red cards and ten black cards
are used in a subsequent Follow the Leader routine; and finally the whole
deck is used for Out of This World. Note that the progressive increase in the
number of cards used also gives the routine a growing dramatic strength.
Within that uniformity there is a variety of effects: a visual effect pro-
vided by the transposition, the intellectual effects of color separation
and compliance, and a mental effect of color divination. The spectators,
when watching this performance, perceive a global construction, an
structure and a numeric progression. They will normally enjoy the routine
more when it has such a structure. It produces an added aesthetic
sure. They will appreciate the structure and harmony.
Of course, there are routines with more complex structures and several
themes. My Paris Act is an example. Several themes are provided by the
of the Jokers, coins, magical music issuing from a harmonica held throughout
the act in the magician's lips to accompany and enhance the various magical
4bl
Several things happen to the Jokers. they travel and assemble.
cts.
they are transformed into other cards that penetrate the table. They then
back into Jokers and, finally, all t~e cards beco~e Jokers_. At the s~e n
}inked to the main theme, is the repeated surpnse of corns appearmg
' the cards . Every time the magician plays a certain tune.ion the harmon-
er 1
the J Okers "c:rive
b-'-
money".' coins appearing under each of tp.em.
1 • •
The routine closes by building through several succ:ssive clu~axes
at end the various themes in a progressively strong wa~, both magically
d dramatically.
I will comment briefly here on an idea I will explore more fully when
cussm· g acts and their structure. The structure of the routine is based
the structure of the tempos of each of the three movements: a sonata,
ing an animated and rather fast beginning (allegro); followed by a slow,
•et second movement (andante); and then a brisk third movement that
lminates in an accelerated ending (a lively climax).237 .
But let's look at a simpler example: the process I followed m con-
cting a routine I call "You Will Forget Your Card". At the time, I h~d
amed several tricks I liked, but I wanted them to be routined. Wh~t did
need to do? Examining them, I saw no uniformity of theme; nor did the
rops offer a sense of uniformity. Well, all the tricks were done with cards,
ut that is excessively broad. .
The first trick I wanted to present was Dai Vernon's delicate and artis-
ic "1\visting the Aces". 23s The first thing that came to my mind was to start
y producing the Aces. But I had done that in another routine. I wanted
something different.
Then I had Noel Stanton's "1-2-3-4-5". 239 In this effect, the'Ace through
'Five of one suit are dealt out in a row. After a magic pass, the five cards
teverse their order and now run from Five to Ace.
237. I am terribly sorry to reference my own work so often in this chapter, some-
thing I do not like to do. But it's the only way I can be certain of the reason
for the construction of a routine or an act.
238. See Dai Vernon's More Inner Secrets of Card Magic. Levvi.s Ganson. 1960-
Unique: London; p. 5.
239. See The Gen. Vol. 21, No. 2. June 1965; p. 39.
 46~
Finally, I wanted to present the beautiful "Ambitious Classic" effe
by Larry Jennings, with some variations taken from Derek Dingle's "Ti
240
Many Cards". In it, after a card has been selected, the Ace through Fi
of a suit are brought out. While holding them in a packet, the Ace ris
froin the middle to the top. It is then set aside. The Two rises as Well.
The Three turns face up and then face down again. The Four magically,
changes position. When only the Five is left in th~ hand, it transforms into
the selected card.
(Let me take a moment here to observe that behind every trick there
is a person, and behind every sleight there is one name or more. I think
we should be grateful to these creators for the time they invested and for
their generosity in transmitting their ideas to us; for their explaining them
publishing them and generously donating them to the magic community.'
Therefore, I feel it almost essential, every time we talk or write about a
move, trick or routine, to credit the author or authors, and to devote time
and effort to finding out their names in order to honor and thank them.)
I wanted to combine these three tricks. They are all done with small
packets: the first with four cards and the other two with five. That was
nice, but not enough to make them feel like a uniform unit. To do that,
I altered "Twisting the Aces" by doing it with the Ace, Two, Three and
Four of Hearts. For an audience of more than ten spectators, these cards
make the effect easier to follow. When the second card that turns face
up changes into the third card, the change is better appreciated when a
Two transforms into a Three. And, since the selected card appears by sur-
prise in the last trick, "Ambitious Classic", I hit on the idea of stressing the
presence of the card throughout the routine. I had a card chosen at the
start of the routine. I then announced that I would make everyone forget
the card. I was proposing an impossibility, making an impossible promise.
This normally att~acts the interest of the audience and involves each of
the spectators: "Is he going to make me forget the card? I don't think so."
240. See The Classic Magic of Larry Jennings, Mike Maxwell, 1986, L&L Pub-
lishing: Tahoe, p. 95; and The Complete Works of Derek Dingle, Richard
Kaufman, 1982, Kaufman and Greenberg: New York, p. 106.
After making this (almost) impossible promise, it is interesting to
tch the spectators' reactions. A specific feature of close-up magic is
e ·interaction established between. the magician and his audience. In
ose-up magic, the spectators may verbalize their thoughts and in some
aY exhibit their personalities. For example, after this, promise, some
ectator might make a ~emark like "That's not hard. I orget everything
1
yway." This lets us know that this person isn't defen~ive; he is openly
dmitting having a bad memory. Another spectator might feel he's been
challenged: "Am I going to forget it? Come on!" Their cqmments, the tone
fu which they delivered them, their attitude and reactions will tell us
something about them as people and as spectators.
I will now allow myself a short digression. Ever since I began in magic,
I have observed with some surprise how one can get to know people from
their reactions to magic, to the impossible and illogical. It turned out that,
knowing some people only superficially, I discovered from their reactions
when doing magic for them a certain way of being and behavior that they
had kept hidden, voluntarily or not, in their everyday lives. I thought, and
continue to think, that magic-the experience of the logically impossi-
ble-acts as a projective test (like the Rorschach Test with ink blots) that
puts the spectator in a situation for which he has no learned patterns of
behavior. "How should I react? Should I display my amazement? Will the
others think I'm stupid? Should I look for the solution, the secret, the
trickery? Or should I surrender to the fascination of art?" Through this
thought process, he shows himself more truly. I can sometimes get to
know a person better by showing him some magic than by h~ving a couple
of beers with him and chatting for hours. 241
'\ Returning to the subject of the construction of my routine, I had figured
out how to routine the effects. After having a card selected and shown to
the audience I announce that I will make everyone forget it. Then I lose
'
the card and, taking out the Ace through Four of a suit (let's say hearts), I
241. Years later I found in The Linking Ring an article of an early date, in which
the same discovery is described by H. Solomon (not to be confused with my
dear and esteemed friend David Solomon).

N
present "Twisting the Aces" in an intimate mood. After finishing the tric
I ask if I have managed to make anyone forget the name of the selection,
Usually most people say no; they still remember it perfectly.
I ask for a second opportunity. To make it more complex and ensure
that they forget the card this time, I will add the Five of the same suit.
do that and proceed with Stanton's "1-2-3-4-5". At the end, I announce, no
longer asking, "I have made you all forget the card.. Can I ask those who
still remember it to raise their hands?" Most people do, even those With
doubts, and I say, "Well, at least I've managed to make some people forget
it. But if you give me one last chance, I will make you all forget it." The
incredible promise seems to have begun to be fulfilled. The challenge pro-
duces more excitement.
I continue with the third trick: "Ambitious Classic". In it there is a
moment in which one card turns face up, as in "1\visting the Aces". So
it acts as an evocation of the first trick I next announce that "Besides
making the card reverse, I can make it turn back to its original condi-
tion, 'unreversing' it." Thus I have moved forward dramatically: I have
repeated and evoked the first trick, but with a fresh element.
At the end of the trick, I ask which card I have left in my hand. Everyone
names the Five of Hearts. I say, "You are right, but I made you all forget
the name of the selected card," and I smile triumphantly. When the spec-
tators object, saying they still remember it perfectly, I feign despair. The
moment is somewhat dramatic. It looks like I've made a mistake, and they
know this is the last trick in the routine. I challenge them to name the card
and they do. "Well, if I haven't been able to make you forget it, let's brin,g
it here!" And I show that the card in my hand (thought to be the Five) has
magically transformed into the card they have named, the one that was
selected anq_ lost in the deck Big surprise! Great impact! And the dramatit
conflict is resolved--;-with magic!
The routine grew to have a structure when I added my attempt to make
them forget the card to the theme of "magic with few cards". In this case,
I make an impossible promise and, although I don't fulfill it, the outcome
is so unexpected and magical that the spectators don't feel disappointed
4bb
frustrated ..
.1..1.1.01.,c:;«.u., they are surprised at the same time genu-
242
elY amazed and fascinated.
ow let's get into the subject of the construction of a sessior or show.
When I initially thought. of writing on this topic and ye4rs ago gave a
lecture on the subject, the first thing I thought of was to rea1Programmes
ofFamous Magicians. 243 The book describes the acts of so!'1-e of the greats
of magic and allows us to study and analyze how they structured their
shows, what tricks they did, etc. I learned a great deal, but I soon realized
there was a problem. In many cases, I had not seen these magicians per-
form; and tricks were referred to by their names alone, some of which I
was not familiar with. I saw the difficulty in writing about these programs
in a way that made my observations productive. It is more useful, then,
if I comment on how I structure my own sessions, because I know why
those tricks are used and why they are in a particular order. Naturally,
these constructions are valid only for me and my style. They probably will
not suit your personality, your style or your taste. I describe them only as
examples and as hooks on which to hang some considerations and reflec-
tions on the subject.
Close-Up Magic Sessions
In close-up magic, I will differentiate between two cases: The first is
semi-improvised session. Here I put myself into a close-up situation
for the magic, which is to say, with a reduced audience, up. to twenty
to thirty spectators, forming a close circle around me as I'm seated at a
table,J prefer this arrangement, although it stops me from using certain
moves and strategies (the use of the lap being the most obvious) and
forces me to adapt others to cover angles from behind. I feel truly close
242. By the way, Luis Garcia Soutullo loved this routine and premise when he saw
it in the 1980s, and he composed beautiful patter for it.
243.Programmes of Famous Magicians, Max Holden, 1937, New York
N
s1pie{:::t:a.t{::n~s also ideally occupying no more than two
People seated in a third row would not have a clear view of the table
face. If there must be a third row, the people in it should sit on high st
or stand. With a third row, there can be room for about forty people,
very close; the farthest, standing, would be no more than seven feet fr
me, so that, if both of us were to lean forward, one could hand an obj
to the other.
This compactness of the group makes everyone feel like participan
spect-actors. Because of the proximity, we can also hear everyon
comments and little screams of amazement ("No way! It can't be! I can
believe it! Oh!"). Since everyone's reactions reach the entire audien
they cause multiple and mutual feedback, generating group cohesio
increasing the emotion of a shared experience and creating a uniqu
and marvelous magical atmosphere for both the individual and the co
lective group. Everyone participates without leaving his place. All feel·
unison. They resonate among themselves or with the magician, and t
magician with them.
Not only do they hear each other, but the gestures and facial expresi
sions of the more animated spectators are transmitted to the others
increasing the sensations of impossibility, wonder, fascination, magic.
There is little else I can explain about the construction of these ses
sions, since I usually leave it all to improvisation. I do the tricks I feel
like doing, based on my preferences of the moment. I adapt to the
cumstances, to the reactions of the spectators and.to the emotions being
experienced by the group, including my own. This is a way of performing
we all use during short sessions, but I feel completely at ease and very
alive when I apply this improvised construction to longer sessions of an
hour or more.
There is, however, always a certain basic structure that I respect.
have some favorite openers (''Shuffle thoroughly, think of a card, name:
it. Look! I had it in my pocket!'} Then there are other quick, power,.
ful tricks with unexpected and totally impossible effects. Tricks I include
in the first part of the session attempt to shake the rational logic of the
ators (shake-or knock it down,. if possible, the idea being to put
Ct
ic to sleep for a while).
In the second part of the session-it'~ not equal halves, and they aren't
arly distinguished; they merge together-come tricks t~at are more
inating-the most poetic, the dreamiest and the most apPrealing to the
I
agination and artistic sensitivities of the spectators: the ~oomwmder
•
and its beautiful invitation to recover childhood and ;experience it
· , the Haunted Deck, "Los Centauros" ... tricks to enjoy j;vhen the Bull
Logic has surrendered, when it's time to experience, explore and enjoy
e Magic Rainbow.,
This is not only for artistic reasons, but also for practical ones. If I
esent "El Cochecito" (my routine for the Koomwinder Kar) or the
aunted Deck during the first moments of the session, it is quite possible
at logic, still awake and perhaps willing to fight, like a traitor whispers
the spectators: "There is a remote control that moves the little car. My
•ephew has some toys at home that move like that." Or "That has mag-
ets. The cards that move have metal in them, or rubber bands or... " It is
ot enough if such solutions are later proved wrong or insufficient: The
ar knows where the chosen card is, even though the cards are face down
1
d shuffled. It is wiser than the spectators, and no remote control can
roduce wisdom. Or, the haunted deck is handed out at the end, there is
othing in the magician's hands, etc.
It's not enough because, even though the solutions are proved wrong,
art of the charm of the effect will be lost, since some spectators, perhaps
many, are still using their logic to attempt to find solutions, maybe even
without wanting to. They are attempting to recover from the collision of
logic with the impossible-but-experienced. That keeps them from fully
njoying this special kind of trick
l That is why I include all the most fascinating tricks in the second
:part of the session, the ones just mentioned and many others: the Color-
hanging Knives, Card to Hat, my menu "a la card" of card tricks, etc.
To end the session, I use one of those tricks I consider strong
nough to close with, because of the great impact of their impossibility
N
combined with their capacity for fascination: "My Drink Trick", "Ti
Coincidence" .... These are tricks that leave the spectators and them
cian suspended, floating, in total surrender to the illusion of the poe .
beautiful dream of magic.
While I follow this structure of two parts and a strong ending; I usu
leave the rest to improvisation; not only the order of the tricks but als
sometimes, the choice of tricks. I often include some trick that I will be
without knowing how it is going to continue or end. I create it along t
way, in a jazz-magic style, which I enjoy enormously.
~
The second configuration I use for a close-up magic session is
formal: a table for me and, in front of it, several rows of chairs for the
spectators, with the third and subsequent rows elevated by having high
stools or chairs on a short platform. If there are more than sixty people
seated, we are probably no longer in a setting specific to close-up magic,
with its intimacy, its physical closeness, with the spectators able to
and hear each other and the magician. Now we have probably entered the
realm of parlor magic, with different conditions.
For these more formal circumstances, I usually have a fairly set
program, with the above-mentioned two-part structure separated by an
intermission. The length of the performance is more clearly defined, from
an hour and a half to two hours, and effects and emotions are combined
to achieve artistic variety within the overarching uniformity.
A Session of Stage Magic
(Parlor, Short Acts and a Full Theater Show)
Let's begin with some characteristics I believe to be valid for short se~
sions and for what i~ usually called a magic act, running about ten
twelve minutes.
The Rule of Three
The first thing is to remember the golden rule used by the variety per--
formers of the 1920s and '30s of American vaudeville. Those great artists
a,intained that to construct a good act you needed three things: a solid
~ginningJ a strong ending and "something" in the middle.
A solid beginning to engage the spectators, to make them feel "What n
artist!" and to get them interested in you. Let's remember.that there
ere superb artists in vaudeville, and if you were the fifth act ~ou needed
engage the audience from the beginning or-you would b~ lost! And
'thin that beginning, the first fifty to sixty seconds are the most import-
t, as we all know very well; but I will elaborate later on that.
Then there is the powerful ending, which must leave the spectators
tally satisfied, make them remember you and remember the finish.
The "something" in the middle, although not as important, certainly
eeds to be sufficiently good.
But why three and not two or four?
The Odd-Numbers Rule
here is a rule, a classic one, of great artistic importance: The odd-numbers
le. In show business, when the clock is ticking, the odd-numbers rule
is related to beauty. I don't know how or why, but odd numbers entail
beauty. Three, five, seven ... even in spatial displays. If I lay three cards on
the table, it is more attractive than if I lay· down six. The same happens
with five or seven. 244
This rule, known and applied by performers in show business, con-
tains, as a particular case, the number three. It has all the virtues and has
been used since ancient times. In classic theater, plays were in three acts
and used the three units of action, time and place. The classic .dramatic
curve consists, in film and theater, of three phases: presentation, develop-
ment and resolution.
Thus, I believe (remember again that there are no dogmas in art) the
;first thing to keep in mind when constructing tricks, routines and ses-
sions is, whenever possible, to follow the rule of three, or that of odd
244. The first time I heard this rule was at a lecture of the great Alfredo Florensa,
at the Madrid SEI Circle in the 1960s. It was quite a revelation and has given
me wonderful results ever since.
 470
numbers. We can be sure of its artistic merit, founded on experience fro
time immemorial. 245
We have many examples in magic. Many of the classic tricks use t
rule of three: three cups, three balls. And although there are some that
four elements-the four Aces, coin assemblies, the Multiplying Billiar
Balls, etc.-if we watch carefully, although they are tricks with four car
c~~ns or balls, the effects in them number three:. there are three transpo,.,,
s1t10ns or three productions; three Aces join the leader Ace; three coins
travel to join the fourth; one ball multiplies into three more balls.
I sometimes structure an act with a variation: three plus one. This was
used in the already cited Paris Act. A Joker appears, then another, and
then a third. After a pause, three coins appear under them. Then one of
the Jokers travels, and another and a third; and three more coins appear.
When eight Jokers are used, they are laid on the table in two rows ofthree,
these rows preceded and followed by a single Joker. 246 In addition, the act
consists of three phases, plus a group of endings, a group that consists, in
turn, of three endings, plus an extra surprise to conclude.
Even numbers are rounder, more rational, more scientific. Odd mnn-
bers are more artistic, realistic, and their symmetry is more beautiful.
For example, the palindromic 3443 is not as artistic as 34843. In a similar
respect, they say Picasso used to draw a perfect circle and comment, "It
is beautiful but scientific." He would then draw another circle, but with a order I will do them. Sometimes-except for the first trick, of course,
little flourish at the end, a little "s" in the line to break the order, and he
would say, "It is beautiful, artistic and personal."
Sometimes an even number can be transformed into an odd one. For
example, two can be converted into three by including an intermission
245. Whe~ discussing this with the very intelligent Argentine magician Rudy
Magaldi, my gr~at friend and brother, he asked me, "Juan, and why that'?'' I
had to say I didn't know exactly why, but that I use this rule to my complete
satisfaction. It is the intuition of artists, who have always used it, and their
experience in front of their audiences undoubtedly deserves an act of faith.
246. Curiously, the great Larry Jennings, the creator of the trick I use in that phase
of the act, used this configuration of three plus one. I am in good company.
4H
a show with two parts. In other words, the intermission is regarded as
other part of the show. The same can be done to convert a four into a
e; by adding something brief in th~ middle: a pause, a gag, some music,
choreographed dance number....
I will now explain how I use the odd number rule in the construction
I
f rnY shows. In a short .show, lasting from twelve to ~fteen minutes, I
ually do three tricks: a great beginning, a strong ending-and some-
·ng in the middle.
For a medium-length show, lasting from thirty to forty-five minutes, I
erform either five or seven tricks.
For a long show, such as a bar or corporate show, running an hour
an hour and quarter, I perform seven tricks or nine. For a stage show
a theater, I do nine, eleven or thirteen tricks, and I divide the session
to two parts, each about an hour long, with an intermission of ten to
elve minutes.
None of this is very original. It is what most artists in show business
ow-often by intuition-and certainly apply. Maybe there is a bit more
novelty in these theater shows in which I try to use a maximum of impro-
msation, but within a well-thought-out and studied classical structure.
I'll explain. The moment the curtain opens and I walk on stage in front
of the audience, I don't know which tricks I am going to do or in what
which I carry in my mind and my hands-I have no idea!
I prepare all the tricks before the show in the dressing room. Most of
them fit into the violin case I bring to the stage. Those that dp not, like the
Spirit Cabinet, the Spirit Slates and the Rising Cards with jumbo cards, I
lea,,ve prepared on stage. And I come out primed to choose from the five to
?
six hours of material that is ready to go.
But it isn't totally true that I have no idea of what I'm going to do. I
.have a clear mental scheme for the structure of the show, within which
I change only the tricks. This is how it goes. I divide the show into seven
blocks. For each block I have several tricks in mind. They are ready
to go, and I choose one for each block, according to the inspiration of
the moment: what I like doing, what I would enjoy doing ahd
suitable for continuing the show, according to my interaction With
spectators, the process of "making love" with them that is what an am
show is ultimately about.
· It is, as you can see, a locked structure, with an open, improvise
choice of tricks. The seven blocks of the session respond to three essea;
tial questions: Who? What? and How?
Those are the three questions we, as spectators, expect to have answered
by the show itself. Even if, once it is over, someone not present were to ask
us about it, he would start with "Who performed?" Once answered, he would
continue with "And what did he do?" And he would end with ' How was1
How did he do it?" This last how is not about the secret but about the quality,
presentation and style of the tricks and the show. Let's go into some detail.
Who am I?-Me, the artist, physically, my way of speaking, my voice,
my gestures, my way of moving, my attitude toward applause and, later,
who am I in my relation to others, with the audience in general and with the
spectators who come up to help me on stage, my attitude and the way I treat
them (do I show myself indifferent, arrogant, do I display affection, etc.)?
What do I do?-Evidently magic, but of what quality and what kind:
manipulation, stage illusions, mentalism, card magic, visual effects, con-
ceptual ones, tricks that are amazing because of evident skill, or impossible
effects because of the magic, similar effects or varied ones? ....
How did I do it?-How I act and perform, my movements, the stage
decor, the lighting, the props (boxes, handkerchiefs, cards, ropes ...), col-
ors, the rhythm of the presentation, the music, the comedy or the lyricism
or the drama that go with the magic, whether it is spectacular or rr.11n.:.rn:JJ-
1
istic, simple, small? In sum, what is the style of the show and what is
way of presenting the magic and bringing it to life?
I'll give an example; again, one I know best: my show. First an outline,
then the details.
I begin with an overview of what the audience is about to see. This is a
little introduction that lasts barely a minute, during which the spectators
begin to learn something about who I am (physically, at least), about what
going to do Qoyful magic), and there is a light brushstroke hinting at
w the stage, the props and style are.
Inthe tricks that follow in the fu:st half, I develop all this. In the see-
d half, after the intermission, I try to enrich what has been seen in the
with variants on the who (I show my most lyrical side with "Los
t
s, r
ntauros"), the what (spiritism, allied arts, rapid calqulation, magne-
m...followed by pure and direct card magic) and the .how (using forty
• utes of card magic done in an intimate mood while; sitting at a table
•th two spectators, one on each side, the scene amplified for the audi-
ce by a earner~, projector and video screen).
All of that is distributed into seven blocks, their order fixed but each
onsisting of five to seven possible tricks from which I pick one or two per
lock, improvising as the show develops. I will now comment in detail on the
locks, the tricks and the artistic objectives of each. (Feel free to skip ahead.)
FIRST BLOCK: TRICKS 1 AND 2
Trick 1. Little intro. 247
As I've mentioned, this serves as an introduction and "table of contents"
for the show. It is two minutes long and is the first contact-,-so import-
ant-with the spectators. For them, it is also an outline of the answers
I'll give later in more detail to the three essential questions of Who, What
and How. My intention is that, if someone had to leave the show just now,
after having watched only two minutes, he could describe w:ho I am (how
I act, walk, talk, move and dress), the appearance of the stage (black
24~. The show is sometimes preceded by "The Sphinx", Tobin and Stodare's
talking-head illusion. As the spectators enter the theater lobby, they see my
daughter Ana playing the head, and Manuel Vera presents her. Or a small
jazz set precedes the show, with my daughter Alicia on piano, and Pedro
Hernandez on guitar. These set the mood for the spectators to be introduced
to the world of magic. Need I explain that, being my daughters, Ana and
Alicia put me in a good mood and, with the personal enchantment they evoke
in me, I am prepared to transmit those emotions to others.

three tables, multicolored tablecloths, very simple) and w
I do (joyful magic). 248
I would like to underline here the enormous importance of the
minute. The same thing happens in everyday life. Generally, the first
contact we make with someone determines to a great extent our fut
relationship with that person; we like him or her, or maybe we don't,
first sight. But I also wish to stress my belief that we should reveal 0
true selves, without faking things or "acting as if' or "pretending to be".
we are truly cheerful, if we feel it at that moment, all well and good. If n
we had best express ourselves as poised and relaxed, or with depth, or
whatever way we feel or our nature dictates.
For this first block, I have several tricks ready to choose from, all
them quick: the Shrinking Glove, Lou Derman's Okay Gag, Billy McComb
three-rope gag, the curved wand (which bends comically), Glass of M'
to Confetti, "The Fastest Trick in the World" (Joe Karson style), etc.
With any of them, I try to display my naturally cheerful and expansi
self (which shyness keeps me from doing in everyday life), the informali
in my dress 249 and that the show is going to be minimalist in its dressing
no decor, three regular tables, a black backdrop, general lighting for
stage and audience, audience and magician in the same space, little music.
(just a bit at the beginning and end, my "Seven Brides for Seven Brothers"1
routine, and in a couple of other tricks). But there will be lots of words
and an eagerness to share energy, truth, joy and magic.
Trick 2
This trick seeks to create the first magical impact, a strong one, repeated
several times when possible. It attempts to reveal me better, to complete
248. I prefer to call it "joyful magic" rather than "magic with humor". This is
truer when I perfqrm close-up magic. There, I do almost no gags, I don't
a single joke, but I try to express and spread to others the immense joy
happiness I feel when performing magic.
249. I wear my street clothes, a top hat (which I use because it's fun and makes
me feel connected to magicians from throughout history; a trademark
magic) and a vest (which I wear because I need the pockets).
information about the who and start showing the what. This is a trick
alone, without an assisting spectator. And it is an exception to my
cti~e of changing the tricks in each b_lock, because I have for over forty
s performed the same trick here: Tommy Tucker's wonderful "Six-Card
" with the additions and variations time has been reyealing to me.
peat , r
the start, I hand six cards .to someone, then add seventee11 palmed cards
"at I've concealed with the Perpendicular Control (TPC). F~s of six cards
shown on both sides, and a spectator touches the "six" icards near the
·ddle of the trick, while I bevel the packet to disguise its thickness. I hold
e extra cards in T~nkai palm while showing the last three, then finish by
roducing ':tour,five, six, seven, eight, nine-and ten cards!"
I find this trick insurpassable as an opening mystery and have never
een able to find anything to equal it. Thanks to the evolution of added
etails, moves and patter, it still feels fresh, and I enjoy performing it
ensely. In the patter, I tell something about myself and about the
orld of magic, of the dinners and meetings we magicians have; but it's
ways different. I don't have it written down or memorized, which, as I've
xplained in Chapter 5 (seep. 351), is true for all my tricks, because of
y style. I change something in every performance, at the very moment
f saying it: ''It was in Granada. There were forty magicians ... " "I was
·n Seville with thirty magicians ... " Only the lines for the jokes remain
unchanged: "We spent a wonderful night together!"
SECOND BLOCK: TRICKS 3 AND 4
The two tricks in this block last a total of :fifteen to twenty minutes. Both
include audience participation. The first is usually shorter and always
uses'tards, so that the spectators understand that cards are my specialty
and my passion. I've designed these tricks to let the audience get to know
me even better; they compl~te the who, when it is seen how I relate to
others. Therefore, I bring someone onto the stage and do a trick with him
or her. The assisting spectator is the center of the trick, playing an import-
ant role. I want the person to have a good time. The rest of the audience
then has a good time as well. I try to make sure people perceive that my
relation to them is H✓.LL'VI.JL., and affectionate. First, I ask for the spectat
A.L .•
name. This is my chance to show how I relate to the opposite sex, to th
who are shy, to those who are outgoing, to youngsters, to adults.
The selection of the spectator is very important to me·, it's dec1s1
•.
Logically, I always look for people with a positive attitude, who se
relaxed, who have laughed at my jokes in the earlier tricks. From t
beginning of the show I start looking for good ca;ndidates, without pa •
excessive attention to stereotypes. For example, if a spectator is sitt'
with his arms crossed, it may be a sign he is rejecting you, but that isn't
always the case. I look for people who are with their friends, who are hav"'
ing fun. And I never bring up a young man who is with only his girlfriend;
Psychology and experience -play a highly important role here
' pocket prediction of a freely named card, "The Joker" and Three-Card
often I make mistakes, of course.
Regarding the treatment of assisting spectators, here is a telling
rience of mine. For many years, when I performed, I noticed that some
people are afraid of coming up. They didn't know how the magician was
going to treat them. Some spectators in the front rows looked away when
I addressed them, believing, fearing, that I was going to call them up to the
stage. On one occasion I asked my daughter Ana (my best advisor, with
the best artistic judgment in magic I've ever known) what she thought
a magician whose performance we had just watched. "I don't know. I can't
remember. I didn't see very well what he did." Surprised, I said, "But we
were sitting in the first row!" And she answered, "Yes, but I was so worried
that he might bring me up that I couldn't watch carefully and enjoy his
magic." The magician, at the beginning of the show, had brought a woman
on stage and had treated her rather poorly, using jokes in questionable
taste, making fun of her, etc.
I alwq,ys treat spectators well, but they don't know that beforehand.
For that reason, E1ince then, since that comment from Ana, I say at the
beginning of the session, ''During the show, I'm going to need some peo-
ple to help me on stage. But don't worry, I won't make any embarrassing
jokes. If someone doesn't want to come up, please say so. Only those who
feel like it should come up, those who want to have a good time. "
think we should be gentle with the people who come up to help us.
1
should make them feel at ease, ensure they have a very good time
~ake sure the audience perceive~ that. I have never liked, either as a n
ectator or as a performer, to see and feel that the beautiful art of magic
Iudes making jokes at the expense of someone who /only wanted to
I
Ip and deserved to enjoy it. Let's leave the ridicule and/ insult humor to
e oh-so-needy television programs. All the above is fu~damental in my
•ew, and I hope that is clear.
With the two tricks in this block, I also aim to show the what more and
ore clearly and, strongly: the best magic I can offer. And the what: with
y, with participation, without apparatus, with hardly any props, gener-
y just a deck of cards. For the first of the two tricks I am prepared to do
onte with giant cards. For the second trick, "Mnemonicosis over the
hone", "Margarita the Snake" (Snake Basket) and "The Appearing Card
n Handkerchief". 250
THIRD BLOCK: TRICK 5
Once vVho, vVhat and How have been established, I can get into a trick or
trick-routine having a longer development and a powerful magical impact.
.Sometimes I introduce new props _here (rope, Linking Rings ... ); or the
magnificent Alan Marchese, Manuel Vera or Consuelo Lorgia.
The point is to show some variations of the what. There is not only
card magic, and there are other artists and, most importantly, there are
various and diverse emotions that magic can convey.
This trick or routine can last around fifteen minutes. It can be a single
tri6k of mine, or one lasting perhaps seven minutes and combined with a
seven-minute act by another magician. I want Tricks 3, 4 and 5 to be magi-
cally strong. Even though the old rule says "and something in the middle",
if that something is really good, so much the better!
250. For "Card from Pocket", see Mnemonica, p. 129; "The Joker", Mnemonica,
p. 94; "Mnernonicosis over the Phone", Mnemonica, p. 101; "The Appearing
Card on Handkerchief, The Five Points in Magic, p. 14.
 4'/8
For this block I have prepared the "Bag of WIShes" (the Egg Bag) and
tricks with jumbo cards: the Rising Cards and an Ace Assembly. There h
been times when I've done the Broken and Restored Watch, Paper Balls
0
the Head (Slydini), "Technicolor Ropes" and other tricks, some of which d
to years and years of continuous performance, have lost some freshnes~
charm for me (in performing them, not in enjoying them as a spectator).
FOURTH BLOCK: TRICK 6, THE MAGIC SORBET ·
Good chefs know all too well that in a long, elaborate meal it is convenien
at some point, to refresh the diners, give the stomach a rest and clean
the palate to prepare them to better savor the next course or cours
es.
sorbet or palate cleanser is something very fresh and light.
I think the great artistic banquet that is a magic show also needs a
short, amusing and relaxing trick I call this a magical sorbet, and it usu-
ally fulfills that function perfectly.
It's a trick lasting just two or three minutes and it is generally funny
or has a dose of comedy, although there are other options dictated by the
style and personality of the magician: a very colorful trick, a musical one,
a sexy one or....
At this point, the show has been running for quite a while, and magic
requires an enormous effort in concentration from spectators ("Look at
that ... I'm going to watch his sleeves as well .... "). It also makes heavy
demands on their memories (they must remember cards, numbers, situa-
tions ... ) and piles up collisions with their logic.
People get to relax during this sorbet effect. They move or laugh and
don't think too much. I carry the jumbo Changing Spot Card, the surreali~
tic rope that has many ends and have some items in my pockets for a cod
(comedy) two-person mind-reading act.
FIFTH BLOCK: TRICK
I
7, RECAP OF PART I SIXTH BLOCK: TRICK 8, MENTALISM AND ALLIED ARTS
Now I believe the audience is prepared for the end of the first part of the
show. This should be a long, strong trick that sums up the emotions exp&'
rienced so far: impossible and fascinating magic, shared joy, srnprises and
the emotions of wonder and celebration. I usually perform the classic and
er Tom and Restored Handkerchief (running about twelve minutes),
·ch includes an accident that puts me in an embarrassing situation,
arently with no solution; or "Seven Brides for Seven Brothers", a musical
k with dancing (also twelve minutes) and a strong magical ending-the
sposition of two thought-of cards. There is plenty of pan;icipation, with
fewer than fourteen dancing spectators on stage, who ~sh by bowing
a
the audience in unison, great cast of artists, as the curt~ comes down.
Occasionally I perform Clayton Rawson's marvelous thought-trans-
·tting eggbeater trick in this spot. I say marvelous, ;, not because it's
gical. As I've mentioned earlier in this book, no one thinks of how the
agician can possibly know the selected card, but they have experienced
e sensation of magic in the previous tricks. It is marvelous because of its
credible capacity for making the spectators feel the poetry, the surreal-
m, the total participation. They become a group of psychics, recovering
eir childhood, yelling in unison the name of the card chosen by a sur-
.sed and sometimes astonished assisting spectator. A total celebration.
And sometimes I present my Linking Rings routine, with variations and
e collaboration of my brother in magic, Alfredo Marchese, known as Alan.
an plays a tipsy spectator who heckles me. In the end, he is revealed to be
y conspirator. The rings used are handed out to the audience and left with
em during the intermission, so that they can examine them and share their
pressions. They return them (usually) at the beginning of the second part.
INTERMISSION
And so the intermission arrives, about ten to twelve minutes of well-
earned rest for the minds and the emotional capacities of t~e spectators,
well as for the magician, who needs to recover his strength and energy.
'. t's now time to arouse a variety of emotions. I am referring to those felt by the
cSpectators and always within our structure of artistic uniformity. Mentalism,
with its special atmosphere and call to mystery, fulfills that function very
ell. I present: "Card Telepathy" (the divination of three freely selected
 cards, one by one by a .........,'-"-'-' -"--'- .. on stage increasingly imp
sible circumstances), the "Spirit Slates" (my version in The Magic Way,
the appearance on the second slate of the name or signature of the gh
invoked), "Table Soccer" (a game of foosball or table soccer played on s
by spectators and seen with the help of a camera and projector, which res
in a prediction of the goals and their order), "Musical Telepathy" (a class
in which Alicia, at the piano, plays tunes selected an~ mentally hummed
the spectators) and the "Spirit Cabinet" (floating musical instruments, To
and Restored Card, a divination by rubbing ashes on paper, donning a jack,
while tied up, and finally Losander's marvelous floating table).
Sometimes, either before or in place of the mental effect, I prese
a paramagical feat; that is, a plausible yet incredible phenomenon
rapid calculation, suggestion or super memory. Here the emotions are v
ied and different: amazement, disbelief, questioning the veracity of th
phenomenon .... The spectators enjoy new sensations that aren't strictly·
magical but are undoubtedly from the same realm. The impact of these,
tricks is surprising. They impress the spectators enormously. I choose
from "Calculism" (a Magic Square presentation), animal magnetism (in
the style of Lulu Hurst and Annie Abbott, but with laughter and fun), jug-
gling while playing the harmonica, and the memorization of a deck
The duration of this block is approximately twenty minutes.
SEVENTH BLOCK: TRICKS 9 THROUGH 12, CLIMAX
The last forty-five minutes are another change or variation in emotionsJ
those I can transmit best through my greatest love, close-up magic. A fixed
camera (a very small one that won't obstruct the audience's view) frames
a rectangular black mat to my left. Two spectators are seated to each side
in semi-darkness, the light being strongest on me. An overhead light
minates the mat. A small projector on the floor, near the edge of the stage,
produces a view of the mat onto a round screen five feet in diameter. 25l
251. I remember my joy the day I hit on the idea of using a reflecting screen,
those of photographers, as a projection screen for magic. Mine is light, folds
up and, being round, is more poetic, reminiscent of Melies's moon.
· screen is very close to the table, so that the image it displays doesn't
· ate the magician's presence. As. the artist, he is the one who should
nunand the focus of attention. Only w~at happens on the mat is shown,
that the audience looks at the flesh-and-blood magician the rest of the
·e. The screen is close to me, so that the audience can :atch me and
e surlace of the mat at the same time. This avoids having t~e spectators
their heads from the magician to his magic, and from th? magic to the
gician, which would break the psychological continuity of the action and
ake it likely they will miss some important detail of the trick 252
This session of dose-up magic possesses its own structure. It consists
f three tricks (yes, three, of course!) and a little introduction. I might
egin with a quick, visual effect, that of "2 + 1 = 3" (the transformation of
1\vo into a Three). I then do a longer routine, lasting about fifteen min-
tes, in which several effects are linked, or the same effect is repeated,
volving varying emotions provided by surprises, suspense, impossi-
le promises, challenges, a pretended mistake and a miraculous ending.
his might be, as an example, the classic and sublime Ambitious Card.
continue with "Los Centauros", evoking different emotions-lyricism
·th mythology-performed to the celestial music of Beethoven's "Violin
oncerto". I close the session with a long trick that produces the max-
. um magical impact I can create, with a final crescendo racing to an
potheosis: "Total Coincidence" (Sonata, p. 224).
I carry other possible tricks, always ones from my beloved card magic:
''Stories with Mnemonica" (my version of "Sam the Bellhop), a Slow-Motion
Ace Assembly, "Cinema" (my version of "Unshuffled" and "Cardtoon"
combined with other effects and introduced by a seven-minute history
of Mother Magic and her son Film). Or Triumph, ending with the whole
deck in order (a tribute to Dai Vernon from his grateful student). I make
use of this final block to talk about my mentors-Juan Anton, Ascanio
.and Frakson-and to express in passing some thoughts of mine on life.
The poised and quiet rhythm, the sense almost of a conversation, a chat,
252. Spectators sometimes tell me, "I didn't need to look at the screen." This isn't
true; they did look at it sometimes, but they don't realize it.
 48~
with the two assisting spectators (so close; continuously participaf
feeling and expressing through gesture and word their amusement, th
astonishment, and at times their joy) and the total darkness in which
audience sits, combined with a faint light that captures the magician
his two collaborators; all this creates a special atmosphere of authen
close-up magic, experienced with intimacy-an intimacy of perhaps 12
people! That is what magic is like.
'FAREWELL
After thanking the audience at the end, I usually do an encore, depending
on the day, time and demands of the spectators. I carry "The Rigid Rope",
"Circle to Square", and the contrary Thank You silk.
After the curtain falls and a few minutes elapse, I always come out,
in front of the curtain, to sign autographs and have photos taken with
the spectators waiting there. While we are doing this, I ask them whic
trick they liked best. All this makes them happier, I hope, and allows me~
to experience further contact with them (even physical, as we pose for
photos together), to hear their voices, moving from my feelings of then{
as an audience to communicating with individuals, with their questions,
their opinions, sometimes their nervousness, their contentedness (which
I believe to be sincere and that I share).
From the answers I receive about the tricks the spectators feel were
the best, I learn a great deal, not just from what they say but from the
way they say it ("I liked the trick with the slates," is not the same as "The
one with the slates was ... wow! Incredible! I was ... !"); and also from thet
expressions, exclamations and nodding of those standing close to the
person speaking.
One of my objectives is, after having done several shows, to have each :
of the tric;ks I have presented chosen at least once as the best in the show/
by at least one per~on. When a new trick, or one I've had in my repertoire
perhaps too long, fails to be chosen by someone as his favorite, I under--
stand that it still needs more study or more rehearsal or more passion; or,
in some cases, it needs to recover, when possible, its full splendor-or to
enjoy a well-earned rest and retirement.
roe Final Observations
the end of a trick, the most important thing for me is not applause. Applause
good. I enjoy it. But it isn't what motj.vates me most. Financial motivation
irrelevant, too. What I want is for the people watching my magic to feel,
ough it, the joy I feel in doing it; that they learn somethh}g about me and
y relationship to others; ~hat they get to know my inner f-orld and find it
teresting; that they understand that I look at life with joy (in spite of... );
d that they leave the session like people leaving a party, feeling they have
en more than passive spectators; they have been spect-a~tors who partici-
ated in what took place; and, although I am the guide who led them through
e Magic Way to enter The Rainbow of amazement, fascination, mystery
d beauty, we have done it together, and all of us have experienced it.
uration: Each of the two parts of a theater session is usually about an hour
ng. 'l\vo hours total, plus the intermission. For corporate shows, I do only
hour and :fifteen minutes. On television, I used to do a short opening and
ne long, strong trick (it's been twenty-two years since I left television).
ighting: I like to work in theaters with the house lights on, though
· · med. I usually have great arguments with directors, "theater people",
vho tell me that I'm spoiling the whole experience, that I am destroying
he theatrical space, the "magical" space of the stage.
That might be the case for a play, but the magical space in magic is the
whole room. There is no fourth wall. I don't want to create two areas: one
'where the magic happens, another where the spectators are. Therefore, I pre-
fer everything and everyone to be well lit, both the stage and seating area. This
ju.so allows me to communicate better, as I can watch the spectators' faces,
their expressions, their gestures, their attitudes. And there is much more
interaction. I get as close as possible to the conditions of close-up magic.
Magic, as I understand it, is not just a show you come to and watch. It
is magic that comes and invades reality, our reality. It illuminates it, trans-
forms it and enriches it. That's where it acquires its enormous impact and
its poetic power of fascination.
Final curtain.
L'-I
r-- 4?:54
p::'.
< An example
~
~ Part I
z First Block
<
;::s
Trick 1 (brief intro) Gloves
~
Trick 2 Six-Card Repeat
Second Block Trick 3 Pocket Prediction
Trick 4 Telephone
Third Block Trick 5 Rising Cards or a trick
by a guest magician
(Manuel Vera, Consuelo
Lorgia, Alan Marchese)
Fourth Block Trick 6 (Sorbet) Changing Spot Card
Fifth Block Trick 7 (Recap) Tom and Restored
Handkerchief or
Linking Rings
Total Part I
CH.APTER 10
Intermission
Part II CREATlN'G lttUSlON
Sixth Block Trick 8 (Mentalism) "Spirit Cabinet"
or telepathy
with medium
Seventh Block (Close-Up Magic)
Trick 9 Intro: "2 + 1 = 3" 3 minutes
Trick 10 Ambitious Card routine 18 minutes
Trick 11 "Los Centauros" 7 minutes
Trick 12 "Total Coincidence"
Trick 13 (encore) "Rigid Rope" a few seconds
Total Part II 60 minutes
Total Show 2 hours & 7 minutes
The times are flexible, of course.
 TO CREATE lLLUSlON

Technique in Service to the Effect

"Magritte has excellent ideas, but his painting technique ... and as a
real painter, I don't know... "
"The Marx Brothers are exceptional comedians, but their movies are
technically very weak"
"Goshman's Devano Rising Cards routine is very well presented by
him, but it's all trickery."
I believe that, physically speaking, an artist communicat~s his con-
ception of the world through certain materials: piano-sound-rhythm;
brush-canvas-oil-aesthetics; deck of cards-impossibility-mystery.
Magritte perfectly manages to convey to me his conception of the
world through his technical handling of paint.
Therefore, he is, for me, an excellent painter.
And the directors of the Marx Brothers' movies transmit perfectly to me
the conception of the world of the Marx Brothers in the best possible way.
Therefore, they are, to me, magnificent directors (interpreters).
 And Goshman perfectly communicates to me his conception of the
through the miracle of the Rising Cards, presented and handled as he
Therefore, he is, for me, an exceptional magician.
It is not so much a semantic issue as it is a conceptual one. I Will
explain my thoughts on this.
If an artist manages to transmit adequately, even perfectly, his c
ception of the world, that means he has used an· appropriate techniq
perhaps the most appropriate one, which is to say the best. He has had
master the technique he used to avoid any deviations from his objecti
To me, this means that, regardless of the difficulty of the techni
employed, these artists are unsurpassable technicians. Therefore, it is n
possible to minimize their artistic value based on the supposedly min
technical difficulty of their renditions.
I don't believe technique is inherently good or bad. It can be execute
well or poorly, but its value must be judged by taking into account h
suited it is to its purpose and, ultimately, the quality of the effect achieve
If it properly conveys the artist's vision of the world, it is good techniqu
and the person who used it is a good technician, whether the techniq
is a complex arpeggio, a simple stroking of three consecutive piano ke
with one finger, a skillful handling of a camera and crane, a three-minu
take of Groucho and Chico discussing "the party of the first part of th
contract," a Fourth Deal or a smooth handling of a Devano deck
But now the question arises: Would the conception of the world
Goshman, the Marx Brothers or Magritte be better conveyed using a mor~
difficult technique or one more exquisite? 253
If the answer is "No, this is the most appropriate technique and it
perfectly executed," then Magritte, the Marx Brothers and Goshman
excellent technicians.
Returning to orir specific art (and to something I commented on
lier in this book), magic has different types of techniques: the technique
of the fingers, of the hands, of the arms, the body, the eyes, coordination,
253. Except in the case of those whose vision of the world consists only
consummate technique.
psychology of words, technical construction, rhythm and pauses, and
y more. When they are applied together to the specific materials of
trick and to the objectives of magic-the main one being the accom- n
hroent of something impossible and fascinating, a ~iracle-they
unicate a conception of the world of the performing qiagician.
I
Certain sleights require good finger skills (say, the :pass). Others
and good use of the hands (holding a palmed card), of the arms and
y (lapping), of the eyes (a false transfer), of the feet (ibody loads on
e), of the voice (mental effects), etc.
It is too limiting to talk of a good technician or a bad one while consid-
g, say, only finger technique. I've never read or heard that Slydini was a
r technician because he didn't use (nor did he need to) finger techniques,
· e discounting his excellent technique using his arms, hands, body, eyes,
·ce attitude and perfect timing. These techniques are extremely difficult
'
though this is of absolutely no relevance in this issue).
Slydini was a virtuoso of technique, while some magicians with mag-
cent finger technique but only average technique using the arms, eyes
d feet cannot be considered, in my opinion, excellent technicians.
But evidently the problem is not how one magician or another
regarded, nor in reducing it all to a semantic issue concerning what
omprises and is understood by the word technique. It is a necessary
tellectual debate (perhaps a self-debate) about the notion and func-
'on of technique. It requires us to clarify the values of appropriate and
ell-executed, both essential features of technique. It is about opening
ur minds to the comprehension of the multiplicity of techniques, all of
hem essential to achieving the secular miracle.
Itis about taking the step from prestidigitator to magician.

About Certain Qualities, Advantages and
Pleasures that Sometimes Originate
from the Art of Technique
In preparation for the already distant first Jornadas .de Carto-
magia, 254 a few magicians gathered in Cercedilla, at the home of
the always present Juanita Anton. Aside from Juanita and me
' to create and devise new effects. Also, with a good arsenal of sleights,
· Ramon Varela, Camilo Vazquez, Pepe Puchol and Pepe Regueira
were there. (I may be forgetting someone.) One of the subjects
proposed was that of digital technique in card magic. We pre-
pared for it only superficially, and there wasn't enough time to
work on it more thoroughly or to develop it later at the Jornadas.
Years later, in other Jornadas, this subject came up, but many
points were left to be tackled or discussed later. Here are some of
my unconnected thoughts on them, based partly on the ideas of
that preparatory reunion in Cercedilla.
Digital technique is one of our tools as magicians. As we all know, its us
in some branches of magic, such as manipulation, is totally indispensable.
It is nearly indispensable in others, such as card magic; very useful i:r[
some, including close-up magic and certain tricks in general magic; some-
times useful in others, such as mentalism; and of little or no use in others,
like stage illusions.
We also know of the negative aspects its abuse can carry: long and,
confusing effects due to the excessive use of sleights and moves, a sensa-
tion of struggle during the procedure of a trick, or magicians who hardly
connect with the audience, if they connect at all, because of their focus on
digital technique while neglecting the dramatization and the clear, direct
communication of ,the fascinating aspect of the effect.
Nevertheless, digital technique possesses a variety of positive and
extremely positive elements. I would like to comment on them here.
254. The well-known Escorial card gathering. Now, in 2018, it has had its for..:
ty-fifth meeting.
491
sitive Aspects of Digital Technique
It increases the quality of the effect.
A good and subtle control by palming and replacing the palmed card
is better than a short comer; but then, a perfect Glide ~s better than a
mediocre Second Deal.
r
It favors creativity. · i . .
Knowing and mastering more sleights pushes us, or makes 1t easier,
we can almost, always come up with a solution for any effect.
It favors the improvement of an effect... .
If an effect can be accomplished with better moves than those it
already uses or with improvements to the techniques being used (new
subtleties, more rehearsal, etc.).
It favors both economy of secret moments and economy in the devel-
opment of the procedure of the trick.
Sometimes one sleight is worth a thousand mathematical beatings
about the bush to accomplish the same effect (apparently the same,
but the greater the economy of means used, the better the effect). Thus
a Classic Force spares us a mathematical force, although sometimes a
force with a long but clear procedure is appropriate and can increase
the dramatic impact of the effect. For example, the prediction of a card
revealed after a Classic Force might feel obvious, but if the card is
arrived at through a force using a series of apparently free eliminations,
the process creates suspense and produces a strong impact.
There are certain brilliant sleights that enhance the beauty of the trick.
Examples: the Ascanio Spread, the D'Amico Double Lift, some multiple
·false cuts on the table. I should point out here that the beauty resides
in the motions embodied in the move and not in a conceptual beauty
given by a perfect execution of the hidden technique. In other words, the
Ascanio Spread is beautiful even when done with only four cards and
nothing concealed. The same is true of D'.Amico's Double Lift, with some
riffle shuffle techniques, multiple cuts, etc. There is a very clear danger
of abusing these "beautiful" moves. But-this brings us to the next point.
 6. :::iorrte:tJ.n1<~s a beautiful throws the spectators
..,....,'L,............'4
It throws them off in a good way, acting as mental distraction or
misdirection, since the charm or fascination produced by the beauty
the move captures the spectators' attention. Thus, a beautiful Asca
Spread (as done by Ascanio, Luis Garcia, Gabi Pareras) misdirects
only because of the looseness in its handling (the cards could easily
handled very loosely but without beauty) but also through the int •
sic beauty of its elastic ballet-like movements, which produce
greater misdirection. I once mentioned to Ascanio that, to the quality
of disarming looseness, I would add a new one: disarming beauty.
Fred Kaps had more disarming looseness, and Ascanio more disarm~
ing beauty, although both artists clearly shared both strengths. I am
emphasizing only what stands out most prominently in their handlings.
Curiously, there is also a brand of "disarming clumsiness". It appears
when you drop a coin along with its shell without them separating, or
when you drop a few cards during a false shuffle, or when you gather
the cards haphazardly at the end of a trick but subtly preserve their
order. (Have you heard of Lennart Green?)
There is even a certain "disarming ugliness", although this is perhaps
more controversial and far-fetched; but didn't a fashion designer of
fleeting fame once say, "Wrinkles are beautiful"?
This is a good moment to re-examine my opinion that the true and
specific beauty of magic lies essentially in achieving the strongest pos-
sible magical impact, which is to say an impact that is mysterious,
impossible, probably desirable, possibly dreamed of and always fas ..
cinating. That's what makes the beauty of the magic of a Slydini, a
Goshman or a Lennart Green shine, transcending a seeming ugliness,
clumsiness or absentmindedness.
Getting back to the beauty of a technique, it can be used to justify
apparent lack of naturalness in its handling; examples are the Ascapjo
Spread and some multiple cuts.
7. Technique can make us love the trick and love magic.
The magician loves the trick more, loves magic more, when he loves
technique; because a love of technique forces him (so sweetly) to
baian
devote more time to his to train, to perfect a technical detail, a
subtlety in handling or a manipulative elegance. Once the fruit of a
difficult technique, :finally mastered and made easy, is ripe, this ded-
ication produces in the magician an intimate sensation: a mixture of
calmness, healthy pride and a love for the effort and time devoted
and for the positive energy condensed into the sleight. !'However, mas-
1
tering a difficult move sometimes causes a lesser appreciation for
easier moves, sometimes to the point almost of disdatn. Such danger-
ous facility has spoiled many artists, musicians and painters, not just
magicians. The only healthy solution for the very skillful is to multiply
their efforts by extending those efforts to more complex sleights while
demanding an absolute perfection from themselves in the handling of
those of less difficulty (Pepe Carrol comes to mind).
Technique plays an important part in the pleasure of the magician.
It is the joy of the craftsman: the pleasure of precisely coordi-
nating our ten small assistants as a part of that whole produced by
coordinating, mastering and playing with our bodies; the beautiful
sensation of what is accomplished with our own hands. But we must
also overcome the harmful division between manual and intellectual
tasks. I used to talk with the incredible and sensitive Gabriel Moreno
about the road traveled toward the objective of perfect technique
(Zen hovers around here). In that sense, I think the joy I am refer-
ring to can be understood only by those who-independent of the
success in attaining the final result-have spent long hours studying
and practicing a move, have begun to achieve a coordinated move-
ment of all the :fingers, and have felt a precise, acquired memory of
movements, tensions, pressures and touches in each of those zones
in them. The only magicians aware of the pleasure I'm talking about
are those who-after long days, perhaps months, of continuous and
intense devotion to the handling of coins, balls and, above all, the fif-
ty-two magical pasteboards-have felt a tingle in their :fingertips that
begs them to lengthen the practice session. The eroticism, so many
times felt, that I have attempted, perhaps clumsily, to convey to you
can be understood only by those who-after one or several seasons,
N

of communion of fingers and cards-wa

many mornings with a greater hunger for the pasteboards th
breakfast, and hear throughout the· day the intimate and
. sensual
for the contact of skm and playing cards.

lN ORDER NOT TO DlSAPPOlNT

Outs and Resources-The Art of

Fixing Mistakes in Magic
Few Suggestions
.. The most important thing, I believe, is our attitude prior to a mistake
occurring. What happens if something fails? Nothing. Nothing terrible.
And if it fails, the mistake can be disguised, minimized and probably
made invisible.
Above all, I think it's wise to try to foresee the most probable mis-
takes and have solutions for them in advance. In my Paris Act, I have
planned for about twenty mistakes.
3. -~Also make sure that everything that can go wrong does go wrong-in
rehearsal! A lot of rehearsal is needed for that.
Overacting is a possible solution when a mistake happens. Fake distress.
"Oh, dear! We've got a problem! There is no solution!" No one will believe
it. Pause. Pretend to think-actually you're not pretending; you're really
searching for a solution. Sudden, heartfelt joy: "But magic can fix every-
thing so ... " No one will believe that you didn't plan the mistake.
 5. monologue: "This is one three mistakes I foresa""{Ji:T ··1 ,
vv. ets
for the remaining two." (See p. 437 for more on this idea.) This is
just a phrase. It is something that needs to be genuinely felt: to fore
.that we will make three mistakes; hoping that we do. This makes
more human and fills us with humility-or reality It tests our
· . creat
ity of the moment and encourages us to practice and to love our t •
. nc
more. What ajoy! Right?
6. · One might think that a good strategy would be to start the session
a pretended mistake and a quick brilliant solution, as is done in the
classic "Chicago Opener". When the trick seems to have failed we g·
, lVe
signals of acknowledging it-gestures, words-that will be repeated
in another trick if a real mistake arises. The spectators, upon receiving
the same signals again, think, "Another mistake that isn't a mistak
e.
This magician is pulling our leg again." The attitude of the spectators
is good and, although the solution or out we come up with might not
be great, the worst has been overcome. However, I don't recommend
this strategy, because it carries a great danger: Producing a sensation
of continuous errors can break the magic dream.
7. When a mistake arises, a magnificent technique is to smile, to be glad,
to show you are happy, almost excited. The contrast with the mistake
observed puzzles the spectators: "What's going on here?" Now think
up a solution and carry it out: "Now I got it, it was a joke." Feel more
joy with each mistake. Remember the Three-Mistake Rule.
8. Another classic resource that seems to produce magnificent results
is to overlook the mistake, to pretend not to have noticed it and con-
tinue immediately with an extemporaneous short effect or series
short effects, such as producing cards or coins from the ear neck foot
'
mouth, etc. In doing this, you arrive at a different ending and ' '
,nci,r,.c~r'11r
erase the memory of the mistake. (See more on this starting on p. 176.)
9. Be prepared with emergency tricks, quick effects and gags, to make
spectators forget the mistakes: flash paper, a finger-puppet mouse,
production of a bouquet, Bang Wand, Break-away Wand .... Of course,
these should always suit the style of the magician.
. Having accessories prepared to fix mistakes: a Topit, Thumb
Tip, etc.
uts Specific to Card Magic
1. Classically, the king of mistake solvers was the Card Ifdex.
And the Brainwave Deck.
And a stacked deck
With any of these you can fix many of the usual things that go wrong.
12. "It isn't your card? I know. This is the locator card. Stick it in the mid-
dle. No! Not f~ce down. Face up is better. Wait, I'll turn it over." With
these words you look for the locator card (and the selection). Have the
spectator insert it next to the selection, which it will later find "magically".
13. Get angry at the card that caused the mistake. Scold it. Hit it lightly. If
it fits your style, tear it, destroy it, etc.
14. "This is not your card? When a magician makes a mistake, the tradi-
tion is for him to eat the card." Tear it to pieces and eat them, or leave
them between your cheek and gums, or do a false transfer and pretend
to eat them. Then do a short effect, such as making a card change (with
a Double Lift). "When the magician gets it right, the tradition is for the
spectator to eat the card." Hand it to him. Laughs. Who is going to think
there has been a mistake?-Especially if he gulps it down in one bite.
15. Tear the card and instantly restore it (perhaps, Paul Harris's "Ultimate
Rip-off' in SuperMagic, p. 63). Forget the trick that was being per-
formed. The mistake will seem an excuse for tearing and restoring it.
16. At the beginning of the session, bring out a folded sheet-of paper and
set it on the table, saying, "This is my prediction. " When a mistake
'\arises, open the paper and read it: "J predict I will make a mistake in
this very trick." Say, "I was right. I always get it right. I never fail."
While they laugh and relax, think of a more or less powerful solution.
17. "It's not your card? Give me your address and you will receive the
card at home tomorrow, along with another surprise. Do you like
ham?" Write down the address. (If you really like the person, write
down the phone number, too.)
498

18. Bring out presents: publicity photos of yourself, chocolate, candie Final Observation
Give them to the spectators saying, "No comments, please." Smile. . lY you want to devise the maximum number of general solutions
t11na1e , .
19. When something goes wrong, bring out a small toy gun and leave it 'ble errors and also solutions particular to each tnck. And prac-
r possi ' . . . .
the _table: "Do we agree that no one saw anything?" You can do . · takes I mean practice embarrassmg situations. I:rpagme you
e the mis . . : . .
same with an opened pocketknife; or a loaded cannon (sorne peo 'ft and think of how you will correct the situation.
•ssed the Double L1 . ~: . .
carry all sorts of things). you miss a force or a faro shuffle, if you d~op a ball, .if th;e dove files
20. Personal examples: 'f written prediction proves incorrect, 1f your assistant comes out
ay, i a ..·
As amagician, I am very different in this sense from what I am like f the box too early-what will you do? It's advisable to thmk ab~ut and
a person. I am very prepared. for solutions before the mistakes occur. Then, when they anse, you
earch · d ·
a) A precaution: When I used an electronic Rising Card device in ~, ready have an out. Above all, the most important thing is your attitu e m
theater shows, I also put a Devano Rising Cards gimmick in. th~: the face of the mistake-it must be genuine, not feigned. .
same deck, in case the electronics failed. This out is useful f~· Should an unforeseen mistake occur, you will have the habit of search-
other Rising Card methods, using thread, elastic thread, etc. . of finding them and putting them into practice. Your
ing for so1ut ions, . .
b) Multiple precautions: "Margarita the Snake" (Snake Basket) car.. mind will be accustomed to that exercise, and panic will not freeze ~ou.
ries the Five of Hearts with a torn corner in her mouth. Should You won't be left without knowing what to do, how to get out of a situa-
the card not rise because of battery or mechanical failure, I bring tion. Having planned for problems, you can solve them without difficulty.
Margarita out of the basket and tie a rope around her "neck" Im cold-blooded prescience is employed; even a private amusement,
)
Ca ' .
explaining that she is a fishing snake. I drop the free end of the · as playful challenges that dare us to solve the situation.
seemg errors .
rope into the basket, and when I lift it, the Five of Hearts with tom Finally, having foreseen general and specific outs and having planned
corner comes out of the basket, tied onto the rope. It is a dupli- ~ttitudes to assume when difficulties arise make you act more naturally,
cate Five of Hearts with an identical tear, tied onto a short length with more assurance. Aside from the benefits of this for the overall perfor-
of rope with a magnet, all inside the basket. By the way, since I mance, your calmness will almost surely keep you from making mistakes
must switch the corner I tear from the forced Five of Hearts, I during the rest of the session.
put the corner to be substituted into my right pocket. But during And if mistakes do happen-so much the better! More fun, more
performance it can happen that I can't find the little corner in laughs and one more story to tell our buddies. ·
my pocket, so I also carry a spare, identical corner there or else- And there is always an exit for a big mistake: the fire exit. (Sorry!)
'\
where. Both corners have been torn at the same time from two
Fives held together.
c) Extreme multiple precautions: I've mentioned that I have tried
to foresee every possible mistake in the Paris Act (Jokers, coins,
harmonica). In total, I have about twenty ideas to solve possible
mistakes. There are so many moves, something will likely go wrong
somewhere. I haven't had to use all of them yet, but ....
 ABOUT THE AUTHOR:
HlGHLY PERSONAL COMMENTS

HERE are two aspects to magic theory:

The theoretical conception of a given theoretical magician.
The conception drawn from the practical magic of a magician-artist.
The second aspect has two subgroups:
a) Theory drawn from the magic that said magician devises:·creation,
construction, tricks and routines.
b) Theory drawn from his practical experience: communication, per-
sonality, style, etc.
A magician can be a great theorist without ever having written a word
about theory (Frakson, Slydini, Hofzinser, Juan Anton ... ) if we can extract
from1lis magic, his style or his performances a new or different or power-
ful theoretical conception of magic. 255

.255. Here lies the false problem that arises when a theorist writes or says some-
thing but contradicts it when he performs. If what he says is interesting and
correct, there is no need to erase his thoughts or blur them with memories of
his performances. If a soccer theorist is a terrible soccer player,. that doesn't
prevent his theory from being right.
 Should anyone be interested, I will attempt to analyze those\asPe
from within-that is to say, within me-although it is a task I don't gre
enjoy and in doing so I fear losing spontaneity and becoming mechanic
~ Theoretical Conception
I must now repeat a number of the concepts already expressed in t .
book It will almost be a synopsis of them.
Magic is an art, very complex, very powerful, relatively young,
not many artists devoted to it, professionally or as amateurs (for
but their numbers are growing). It is a symbolic art, ritualistic. We play
at being gods. We are dreams approaching reality, a reality lying between
theater (a reflection of reality in near reality) and film (dreams in images).
Magic is desire. It has an inner symbolic meaning communicated at a sub-
conscious level. It's a playful art (games), very technical and demanding
of diverse skills: voice, gaze, body, digital technique, psychology.... It is
addressed to the pre-logical child (play), to the emotional youngster (mys-
tery) and to the reasoning adult (impossibility). It fights and temporarily
beats reason, forcing it to give way to fantasy and imagination. It is an
art of communication and love. It consists of a complex technical and
structural skeleton, of an emotional and dramatic embodiment and of an
impossible and fascinating effect. The magician is not an actor. He is him-
self playing at being a magician. He is the guide of spectators who are not
mere spectators but spect-actors and co-participants. The objective is The
Rainbow of illusion and beauty, which is not part of reality (although it is).
One should be a good guide (using the Five Points) and lead the specta•
tors down a good path, making sure they don't get lost (The Magic
saying "No" to the true solutions or to the false ones believed to be
and that they reach a truly fascinating Rainbow.
The magic session consists of three phases, three consecutive stages.
First: defeating reason.
Second: playing with the imagination.
Third: once the session is over, a return to reason. People don't know
how it happened but do know there is a reasonable and logical cause.
If the phase fails to occur or contains ambiguity, magic is invali-
ted as an art. We would be instead in the realms of scams and deceptions
of religion. n
A lack of the first phase-defeating logic, doing the impossible-inval-
dates magic as a specific art; it could be music or poetry.I
And any flaw in the second phase-fascination, plaf, imagination-
reduces and minimizes the artistic value of magic and lea✓es it as a science
f the impossible.
The style is the person. The richness of the inner world of the person
is proportional t~ the art it potentially contains. There are seven veils that
cover seven mysteries: love of what is done, effort, knowledge, energy,
truth, inner richness and love for the audience. The emotional information
is almost as important as the psychological-technical-structural skeleton.
After the person, the most important thing is the effect: its impact, its
quality, its beauty, its development, its symbolism.
Digital technique is necessary in certain types of magic, as are tech-
niques of gesture and the body-and of psychology, always! There is also
acting technique: rhythm, cadence, coordination in time, etc. And the
techniques for controlling perception (misdirection), interest (dramatiza-
tion), memory ( controlling the facts to be forgotten or remembered) and
communication (the Five Points) are essential.
The effect is in the minds of the spectators, and it varies and evolves
later in the memory and in the evocation of memories (The Comet Effect).
No effect is too perfect, but some methods are "too imperfect" for
that effect.
The dramatic arts and magic are opposites. Comedy and magic destroy
eath other. Narration and magic interfere with each other. Only music, dance,
mime and poetic gestures make good company for magic. But a reasonable
balance can be achieved between comedy and magic, theater and magic, or
narration and magic. At the optimal limits, magic can be improved by com-
edy, narration and drama. Surrealism is the art of magic as regards its effect,
but it is not related to the notion of the impossible in reality. Nevertheless, its
poetry is similar. Some magic is gestµral poetry (visible metaphors).
 emotions in magic should be intrinsic to the effect or to the de
opment of the effect: astonishment, surprise, challenge, curiosity, fail
suspense .... They can, though, be aided by external emotions: pa
humor, drama, eroticism .... The latter include presentation: dress, mak
anything that can be put on or taken off; of secondary importance
important nonetheless'. Suspense is the most dramatic, disquieting and
eling of the ways an effect can be delivered. The sustained effect is them
poetic, ·while surprise is the most superficial, relaxing, entertaining
commercial. Suspense with a sustained surprise ending would be an id
Tricks with suspense are like a meal; and surprise offers the culinary c
plements: salt, sauces, dressings, wines, appetizers, coffee, brandy, cig
Challenge is good when wrestling logic and defeating it, but spectato
should be made to feel that the magician wrestles alongside them (alo
side the imaginative part of them), against his own logic. And once logic
been temporarily defeated, magician and spectator play and enjoy togethe:li
Thus, struggle and play, struggle and dance ("Tahuromagia", a series
of gambling sketches Jose Carrol and I did), challenge, strive, offer rele
less opposition until you win, defeating logic and announcing little b
little that the best is yet to come: play, joy, surprise, dreams. And finally,
the return to logic: to wake up with the memory and the sensation of a
magical experience in the world of the non-possible (for now); in oth,er
words, the illusion of impossible wishes fulfilled.
And all this occurs throughout the session. The session is not a series
of tricks but a development of the battle against logic and the final, playful
celebration: Mars and Dionysus. And later, man and his reason. Mythology
and magic: two ways to symbolize and establish wishes; two similar
poetries. 256
256. For example, let's ttke the wish to fly. In mythology there is Icarus, a legend;
serving as imaginary reality. In religion there are Jesus and Buddha, miracles
as imaginative reality. In science there is the airplane and, maybe soon, man
flying by himself, as reality. In painting there is Chagall, as in non-reality, in
fiction. In magic there are Kellar, Maskelyne, Copperfield, who were momen-
tarily experienced as reality and later were known not to be real.
The magician, fighting, wins beating reason (he flies-there
e no cables, no connection), then plays along with the spectators (let's
:xperience true flight, the beauty of a _man floating freely) and finally
turns them to reality (I know it was illusion, like the rainbow, but I expe-
1
enced it as if it were real). I
The magician also preser:i-ts evil; the fears, dangers and/ anxieties of
e: decapitation, cremation, disappearance, being bound, qeath. In gen-
al, he overcomes fear with fulfilled impossible wishes, possible events.
And of course, these fears and anxieties are known to inhabtt the realm of
art, where there is no authentic danger or pain.
Magic is that, but it is also for having fun!
Of course, some dangers and temptations must be avoided: utilizing
magic to feel the pleasure of power, of dominance, or using it just to attract
attention, to be admired or obeyed, or to feel ourselves above those who
don't know our secrets (vanitas vanitatis).
It is only an art.
Only part of life.
And nothing less.
2. About My Ideas, Tricks and Routines (Self-Analysis)
I will attempt an analytical striptease. (Don't worry, it's only analytical.)
I consider my tricks, those I devised, usually to be complex, with
mental and suspense effects, sometimes with several phases. Most of
them are long, with varying digital techniques (false deals, Top Changes,
forces, false shuffles, culls, the Perpendicular Control. .. } By now they
are mainly card magic, though some are with knives and a few with coins.
Some r,eflect my way of conceiving magic and life. Some, the latest I have
come up with, are closer and closer to this. They contain a lot of audience
participation. Most of the participating spectators play important roles in
the procedures and often do the magic themselves, without the magician
touching anything (as in my Verbal Magic done on the radio or live). There
is also considerable participation by other magicians: magic for two (in
Los Mancos, with Juan Anton; "Tahuromagia", with Jose Carrol).
N
I enjoy constructing routines ("The Glass", "Cinema", "You WinForg
Your Card" ... ) and acts (Los Mancos, Alicia, Magritte, the Paris A
"Tahuromagia", the Spirit Cabinet ... ), and I seek the intrinsic emotions
their construction.
·Nowadays I don't like performing with special props, only with
day objects: cards, coins, pocketknives, glasses, envelopes, etc. I seldom
let strange-looking cards be seen (such as blan_k cards and cards With
drawings on the backs). I greatly enjoy doing magic with ropes, balls;
thimbles, dice, safety pins, handkerchiefs ... and mental effects; but these
days, when doing close-up magic, as I've said, I perform almost exclu-
sively with my much beloved pasteboards.
I don't like tricks in which cards represent characters. (There are
'
course, a few exceptions, like cannibals.) I prefer to draw on non-cards:
hats and apples or centaurs and sirens (more exceptions).
Whenever I can, I construct any secret accessories I need for card
magic (holders and other gimmicks), making them from playing cards and
card cases. These are my hobbies, fetishes, love.
I don't get too excited about topological tricks with cards. Instead, I
love tricks that end with a whole suit or the whole deck in order. I have
found a genre that gives me a lot of inner satisfaction: magic with cards on
the table, done there by spectators (their hands and cards, their heads-
above the table, of course) who follow my instructions-and the effect
happens without my touching the deck This kind of magic is complicated,
dangerous and difficult to devise and to present, but the results, for me, are
magnificent. "Hidden and Concealed Magic", "Miraculous Coincidence"
and "Double to Death" are three of .them.
More and more, I devise and perform tricks and effects that
something about myself, my beliefs, my loves: "Los Angeles", "Cinema"
tribute to Melies), ';'Magritte" (showing my passion for surrealism), "Magic is
Dreaming". And about what I believe magic is: "2 + 1 = 3" (illusion creates truth),
the Color-Changing Knives (the rainbow and magic), "The Fading Joker"
fleetingness of illusion). And about my mentors and friends: Gaetan Bloom's
"Aces", Professor Vernon's "Triumph" and "My Grateful Gift". And tricks that
508
ress my tastes and attitudes toward life: "Seven Brides for Seven Brothers",
lack Days", "The Fortune of the Year", "Paradise Recovered" (from Verbal
agic; a no to war and other evils). I ~eek variety: Aces that transform into a (")
suit, a visual Oil and Water sequence, "Hypnosis: The Deck of the Three
..Juans" (my version of Hofzinser's "Wonderful Deck"). I hav~ fun with effects
'With comical situations, ~d it fascinates me when they epd with powerful
magic: Tom and Restored Handkerchief, "Carbuquillo", "~emonicosis over
the Phone". I also like sprinkling drops of comedy to make the magic stronger
in such tricks as "Kangaroo Coins", "Nauj", the Rising Cards and "Gizpiel",
r
although lately use very little comedy when I perform close-up magic.
Instead, I'm exploring visual lyricism with such things as ornamental card
fans and "Los Centauros".
I find gambling demonstrations very powerful, and audiences agree.
"There is drama, conflict, and the effect is very clear: the magic of desire.
These exhibitions contain the emotions of skill and envy (healthy envy),
amazement and-magic! Their meaning is obvious and they are easily
evoked later in everyday circumstances, such as games of chance.
I try to start all my gambling routines with effects where very, very
simple sleights are explained. This satisfies curiosity. I continue with a
demonstration of skill, which provokes amazement and admiration. I
then stage a card game, playing all the players myself, or playing against
another magician or a spectator. This incites envy (which I hope heals)
and excites ambition (always insane). In the game, I demonstrate a higher
skill, which I don't explain. Instead, I exhibit the result of "complex and
secret techniques", while beating the spectator with an attitude of soft and
sweetened antagonism: "Come on, play along; you are only playing the
loser." 257 Later, after exhibiting my highly developed expertise (creating
257. If I can, I will make a bet with a real coin-his. And I will keep it when I
win. I do this for several reasons: It makes the routine more memorable.
The experience feels more real. It inspires group comments, reactions and,
sometimes, incredulity, since the spectators don't believe I'm really going to
keep the coin. And, most important, I increase my income to cover my vices
and leisurely lifestyle.
admiration for this superman, this romantic hero, the master gambler),
I finish with a demonstration of skill, impossible skill, which is to say-
magic! From the ability of the common man, to the stunning skill and
cleverness of the hero, to the power of the gods.
From what my friends say, I irradiate energy when I perform. They
note that I respect the spectators and treat them well, that I am optimistic
and cheerful, that I laugh at myself and with them (never at them), that I
love magic and I sincerely love the spectators (especially the ladies), and
that-as much as in my magic as in my life, if that is possible-We are here
to have fun! I am on a search for joy; joy for myself and for others.
A secret: Although I generally do magic because I feel its fire and pas-
sion, I enjoy applause more than tomatoes. Applause, though, sometimes
intimidates me and I certainly don't try to boost it through "professional"
contrivance. Magic helped me overcome my innate shyness. I have my
ABOUT THE PREPARATlON OF THE SESSlON
ego, which I try to keep in place. And when I perform magic, aside from
the chills brought on by the audience's admiration, I feel very glad when Instead of writing down my ideas on this subject ( nothing novel
they enjoy it. I created illusion for them and I hope they will love me. or original, by the way), I will reprint this account I wrote a
Because-who is perfect? long time ago about a performance in Chile. 258 I think it's a more
No, please, don't point at me. I know it ... but I didn't want to ... I. .. to tell vivid way of conveying the ideas.
the truth ... well, okay, I accept it. Thanks everyone.
Curtain. ' Santiago de Chile (America, Southern Hemisphere, via Paris); done injust
five days: fly, shoot and fly back. That's what it was about; a single televi-
sion show.
Since I had done many television shows over there, I had to make
some choices and go to extra effort: "Card on Handkerchief', Invisible
Deck and the Eggbeater got the people in the studio thoroughly involved
and v;.ery excited. It was a blast! I am telling you all this not out of vanity
(or not just out of vanity, dear friends) but because I think it was due to a
random and fortunate combination of various circumstances, and I want
· of any use. 259
· case 1't 1s
to tell you about some of them, m

258. Published in the Circular of the Escuela Magica de Madrid, 1984.

259. Since all of them are as valid for any session or magic show, I believe, as for
a television program.
N
In addition to the already mentioned good shape I was in on stage,
audience was positioned magnificently. We were in a studio, but it
also a special theater, close and wide, ample and comfortable, packedc
with guests (not extras, thank Zeus!). It was a most convenient f
. une
(10:30 P.M., not too late, not too early) and I was performing in the fourtit
or fifth spot (but preceded by good, short, non-comedy, musical acts). We
had an excellent host (Cesar is his name), one of th~ few who are at the
service of the performers. We had an intelligent and concerned director
with whom I had had a prior explanatory chat the day before. And we had
a detailed camera rehearsal on the same day but a few hours before the
broadcast. On top of that, it was a live broadcast, which when it's well
prepared, has a vital and artistic tension much higher than occurs in those
that are recorded; but there wasn't the nervous atmosphere of live broad-
casts that aren't well prepared. As you can see, everything was favorable.
I had great faith in my routine. Three card effects (uniformity, unit)
but varied (the visual and surprising "Card on Handkerchief'; the humor;.
ous, very magical and poetic Invisible Deck; and the funny and surreal
Eggbeater). All of them included participation: the first with one person
on stage, the second with several people in the audience, and the last with
one person on stage and all those in the audience. There were magical
objects (handkerchief, eggbeater, jumbo card, etc.). I also had the new
Lou Derman Okay Gag as an introduction (''Do you think it's possible for
me to guess the card you thought of? You're right! I'm not going to guess
it," and you throw all the cards into the air). Surprise andjoy were already
there after fifteen seconds. Then came something lying between the visual
and the mysterious (the handkerchief), followed by something with imag-
ination and laughs (the Invisible Deck, first phase) that became a very
powerful and highly poetic mystery (the Invisible Deck, ending). Finishing
with the Eggbeater gave a great surprise, laughs and total participation.
So, I already had a good program, good audience conditions, venue, time,
etc., and I was in good shape for performing. What else could I wish for?
What I wished for, and achieved, was reaching showtime with a mini-
mum of fatigue, maximum calm, the necessary prior tension so that I didn't
have to start too an eagerness to strong wishes to commu-
nicate, enormous interest in transmitting the emotion of mystery, and an
indefinable determination to seduce, c~nquer and surrender to those who
were watching me-and to make them enjoy all that and magic!
To do this, I proceeded as follows. I woke up in the rrioming, when
I
mY body asked. I took a 101:1:g, relaxing, hot bath, with back~round music,
during which I devoted myself to remembering happy moijlents, evoking
positive images and experiences, and embracing exciting projects. Later,
after a rehearsal in the TV studio (we fine-tuned every detail), there was
a leisurely walk around the city with someone dear, Enrique Gonzalez
Ylabaca, the Chilean magician who is also my older brother over there, my
artistic agent and my friend. Walking around, we enjoyed our talk about
magic, about how to better communicate with the audience and about
performance as an act of love. Afterward, a late dinner with a couple of
slices of roast beef and a double helping of Chilean salad with palta (avo-
cado), beans, com, tomatoes, escarole, assorted seafood. Tea (the divine
drink of the East-that of the West, of Bacchus, I always leave for after
the show) served to help my digestion and to raise the vital energetic ten-
sion. All that in a restaurant grill on the grass, next to a swimming pool
with beautiful male and female bathers.
Next, off to the TV studio in the necessary time (an hour early) but
not excessive (so important). With everything sitting ready on my table on
stage, and with makeup on. (I hardly ever wear makeup, only if they are
very insistent; just a few touches of powder for my shiny forehead and the
eventual sweat.) Luckily there was a good lighting technician, so the lights
were not too strong and were adjusted. (The strong ones almost hurt the
eyes ,of the performer and bother him enormously.) And, as a warm-up,
about fifteen minutes of card tricks for the makeup artist, for a journalist
and for the always-by-my-side Enrique. Then, after entrusting myself to
Saint Frakson and Blessed Father Ciur6, I walked out to perform.
If, after all this, I don't manage to give a communicative and cheer-
ful performance, radiating and exuding positive energy, improvising the
instant something unexpected arises, transmitting love, rejoicing in the
N

moments of a magical and mysterious effect, and enjoying it myself,

ing fun to the maximum-I would be a total wreck!
Luckily for me, I am probably not a wreck, and I think the audience
Enrique, the TV-channel staff and myself were all satisfied, happy and'
glad~as I hope you are now, my patient reader, for having made it all the
way here.
 THE SPECTATOR FAClNG MAGlC

LET'S get into an interesting aspect of magic that is seldom

wrestled with: How to attend a magic session and how to watch
it. I am presenting here two articles written long ago. I'll leave
them unaltered, each in its original tone.
The.first text was composed as an open letter, which I hand out
on occasion to each of the spectators at my magic sessions. 260
Dear friend,
Just a few lines to present to you some thoughts about magic; and from
now on, please understand, when I say magic, I am referring to illusionism.

260. This article was originally published in my bookAprenda Ud. magia (1973,
Editorial Cyrnis: Barcelona) and reprinted in Secretos de magia potagia
(1988, Editorial Frakson: Madrid). I address the spectators formally, which
was the accepted manner in those days. I have maintained it here for nostal-
gic reasons and because I think it conveys a feeling of respect, tinged with
friendship bordering on love for the spectators. Luckily, the attitude of spec-
tators today, in 2018, forty-five years later, has changed notably for the better.
Most of them approach magic in a much more open and encouraging way
than they did then. So this article also serves an historical purpose.
518
And when I say "Alice", I refer to every poet, to every surrealistic
What Is Magic-Illusionism? What Does It Consist c,f?
painter, every creator, to all those who know how to transcend appear-
It's a call to mystery, a destruction of what is apparent, a creation of a
ances, the first shell of a reality (n<?t that real!); those who know how to
world of illusion attempting to make an array of disparate feelings bloom
lead us to the great empire of imagination, as real as ours, as everyday life,
in the spectators; from arcane fears, perhaps dormant in us, to pleasur-
as true, as serious and-why not?-as lucid.
able, joyful and enchanted ways of feeling and seeing the world. Among
So, for you, magic will no longer be childish entert~inment but some-
them are primitive or nai:ve feelings, perhaps diffuse, maybe unknown or
thing else. It will be an art. You will feel enriched, y~u will understand
unrecognized, that float vaguely in our inner selves.
more and more clearly, you will better intuit things.
The above lines are admittedly somewhat literary, perhaps overly
pedantic. But I have tried to write words that lead us to the essence of
The Magician
magic. Words that distill magic, that create the magical atmosphere.
When you see a magician perform, please remove your tired eyeglasses
True magic, illusionism, is not sleight-of-hand or legerdemain or skillful
and watch with the big, wide-open eyes of Picasso and of children. Play.
moves. Magic is no longer prestidigitation (quick fingers), nor is it equiv-
Play with us magicians. Have fun, get excited without inhibitions, be
alent to something intriguing (we already have detective novels for that),
amused, feel pleasure, don't restrain yourselves. Enjoy!
nor does it correspond to a challenge of See if you can catch me. There
A magician is not a trickster. The magician is not a skillful, deceitful
is no trick in magic, because we all know that there is. There is no decep-
grifter. But neither is he someone gifted with supernatural or special pow-
tion, because the true and authentic spectators who savor magic are never
ers. Such powers are within us all. The magician will make us feel them,
deceived; they are only enthralled by illusion. In magic, in true and authentic
he will remind us of them-if we want it-and make us live our lives more
magic, in artistic magic, there is only emotion, illusion and a call to mystery.
That is the key: mystery, the emotion of mystery. That's the only secret powerfully.
Those powers-call them fantasy, creativity, illusion or imagination-
of artistic magic.
are ours. We all have them. Let's develop them!
How To Watch a Magic Session If the ball concealed in a hand is not there when the hand opens again,
let's not think of the sleeve; let's think and see that it is not there, that it
When you watch a magician-a good magician-surrender. Don't fight against
him; no one wants to fool you. Play the game, get into the world ruled by has disappeared, and we will be closer to the truth, to that truth.
If the magician puts it up his sleeve-so much the worse for him!
imagination and fantasy, the unreal and the mysterious, the anti-appearance,
the anti-reality (in the most superficial sense of reality); the world where the But in magic, there is a trick!
only thing known is-the unknown. But don't passively let yourself be car-
ried away. No! Participate actively, get involved, immerse yourself voluntarily, Right. But figurative painting is also an illusion of reality. And when
collaborating with t:he magician in that world of illusion. we look at a painting, we· don't think that that blob is a certain amount of
Wish, want and act like this: oil of a specific color. No, that blob is an eye or the fold of a cloth, or the
Without fear, without skepticism; and go back to your personal child- moon, or a woman's smile.
hood, when the impossible didn't exist. Go through the mirror, hand in Or perhaps that blob is the expression of a feeling of envy or sadness
hand with Alice. Pass through, like her, to the other side, into Wonderland. or pride, if we are standing before an abstract painting.
N

And the notes of a symphony are not' for us ' vibrations of a sp·e, c
sonorous frequency and amplitude. Those notes, instead, produce l
and romantic sensations, or communicate to us feelings of bitterness
sadness, or transport us to magically sonorous worlds.
And when, at the movies, we see a quiet and blinking shadow repeat
twenty-four times a second with minimal variations' producing the illus10
.
of mo�ement, we don't say, "Oh! I know the trick It'� not Audrey Hepb
the Eliza of My Fair Lady I'm seeing. It's only her image, only a shado
repeated twenty-four times a second with tiny differences that produce
the illusion of movement." We see Eliza Doolittle, who moves her eyes·
feel her joy with her when she smiles, or her sadness when those eyes'
Why do we give total credibility to other arts that use so much-I
going to say "trickery"-so much illusionism, yet we refuse to surrender
to that which carries within it the essence of illusion: magic? THE SPECTATOR ON THE
Maybe the answer is that we don't want to. OTHER SlDE Of MAGlC
Maybe the answer is that we don't know how to.
Magic" with this essay,
Or maybe the answer is that we don't dare to. I am following "The Spectator Facing
ironic in tone and should
Magicordially Yours, also from distant times. This one is
circumstances and time in
Juan Tamariz be read while keeping in mind the
which it was composed.
a warning to those who are willing
I would like to express a fear and give
. The fear is that they might catch a
to attend magic sessions as spectators
le disease:
dangerous illness, a terrible and incurab
magic and, above all, of one of
1. Illusionism is one of the factors of
s: its stimulating power. If magic
magic's most important characteristic
an knowledge, it can also be a
lq_as sometimes been the engine of hum
ulant.
stimulant in life. But it's a dangerous stim
in front of us that needs to be
This is because magic puts something
Whether that mystery is real or
written about in uppercase: MYSTERY.
for our theory.
apparent doesn't make any difference
lusionism not only confronts
2. But be careful! A good session of magic-il
and puts us headfirst into it.
us with mystery, but it also captures us
 Suddenly magician, the illusionist, makes us feel enveloped b
the void or a coin that vanishes into thin air-of whoever is capable,
mystery. We are surrounded by it, listening to its mythical flutt:·
wants to and dares to, I say: Woe unto him!
It puzzles us, breaking our mental structures making us ~ •
. ' iee1 Insec Woe unto him, because perhaps, f?r now, he will for a time have fun
about our science, about our logic and worst of all abo t 0
. ' ' u ourselv and feel joy and pleasure; but woe unto him, because he will start to
But can't we trust our own senses? Will the dogmatic phrase "Of
.' . co feel the bittersweet excitement and unsettling adventpre of entering
its true, I saw it with my own eyes" ever be true?
the world of the unkno:wn. Woe unto him, because tha~ admirable and
Well, no. Absolutely not. Because the phrase is untrue.
tremendous strength he carries in him and uses so stin?ily-I am refer-
· The magician-illusionist makes us see with our own eyes, hear
ring to his imagination-will feel boosted, will escape,,' will fly free and
our own ears, feel, touch, smell and taste with our own senses thin s
that are not true. g make him fantasize, suppose, suspect, create, think, feel, invent-will
make him live.
"Ah! But don't you exaggerate, my friend. Prestidigitation? r know
Woe unto him, poor captivated spectator, because when the magic
very well. It's an innocent trick I also know that everything is a fraud
session is over, from that very moment on, he will be more lucid. And
that there is much cheating and trickery. fu any case, it's simply enter'.
then, for the same reason, he will destroy within himself the belief in the
tainment; only for chlldren or for unsophisticated and not-toa-sertous
reliability of appearances. He will know there are precise psychological
adults. It's something of no importance. Almost, almost something silly."
methods to make him see what is not, and he will feel uneasy, restless
Something silly? Ofno importance? Only for children?
and skeptical when this advertisement, that publicity and other twisted
3. Whoever thinks that way is denying himself an expertence that is
and manipulated information aspire to deceive him. Now he will know
strange and fascinating at the same time: of knowing that he has been
that "there is a trick". He will feel terrible.
enchanted, of touching the unknown or of feeling wrapped in a cloud
of the incomprehensible. Woe unto him, because taking a pleasure trip on LSD will be of no
further use. Nor will an alcoholic binge intended for escape. No use
Also, you who think this way are using faulty logic, because dreams
alienating himself with work and compulsive shopping. Because all
and art are false and you, my friend, don't refuse to dream or fantasize
that-LSD, alcohol and "Where is the key of the prize car?"-will be
with music, theater, movies and painting.
child's play and will mean nothing to him.
On the other hand, I believe, paradoxical!Y, those who tltink this way
Woe unto him who has inhaled the heavy scent of magic, who has been
about magic can have their reasons. Maybe they sense real danger
touched by illusion, who has entered the suggestive world ,of fantasy.
behind this innocent art. Yes, it's true. I'm well aware that a magic
And woe unto him, in sum, because with all that-I am warning
session is not such an innocent game.
~him-he will begin to lose his blind faith in his superiors, perhaps
That's ,why I say of whoever is capable of att~nding a session
become wary of his leaders and suspect the shell that conceals reality;
magic with the astonished and wide-open eyes of children, or the eyes
and many false truths will be recognized as false; and many imposed
of Picasso; of whoever, without fears, complexes or inhibitions, par-
dogmas, many acquired prejudices, will lose their entire value.
ticipates with an active mind; of who, above all, opens wide the doors
5. I have to say it. I can't hold it back, however hard it might be, however
of his own self to what he doesn't comprehend, to the spectacle of a
terrible it might seem: The poor spectator, captivated by the magician,
woman sawed in half and restored, to a cigarette that appears from
will have to pay his dues for his joyful but prohibited adventure into the
b~4

of magic. . . .. 'L, ...... , , - structure (perhaps stagnant, perhaps f

but that lets him "keep on living") will shatter. He will no longer
regular person, because he will have to think for himself; he will
to actively use all his capacity for observation, for critical judgment
for insight, and he will find himself obligated to accelerate the P.n(1'Jn.~::.·

of his own imagination, complemented by his unique, critical and

reason. And such activities, as we all know, are nei~her comfortable
calm nor secure nor, above all, to be morally recommended.
6. I know of cases like that. It's not a false danger. It is a tremendous and
real one. The spectator will pay high dues for his courage. He will have
to expiate his sin with the most terrible penitence: that of feeling con-
demned to live by himself, of spending his whole life, every single daY,
every single minute, until the end, carrying the heavy load of lucidity
on his shoulders. In other words, having to consciously support, will-
ingly or not, his authentic human condition.
7. I am warning him. Forewarned is forearmed.
I wash my hands. MAG ARTS
I have no more feelings of guilt.
If one of you dares, it's up to you!
 MAGlC AND MAGlCAL NARRATlON
Myths of Creation, Gods and Heroes,
Fairy Tales
WHEN magical stories were told in ancient times, always at night, the
listeners believed in the truth of what was narrated. 261 It was, in a way,
a rite in which the listeners participated as believers. Sometimes a con-
tainer of water was placed as a magical element to keep ghosts and spirits
of deceased ancestors away, avoiding the danger of the narrated world
spreading into the real world; and the narration took place near a fire, a
purifying and transforming element. The narration never changed. It was
repeated in the same way, sometimes with identical wording,, to transmit
time and again the experience of the rebirth of the story.
ln these tales, the magic consisted of an active desire to influence the
plot of the universe (by pulling a thread, the plot grows less complicated
or is modified), getting to know and controlling the laws of the environ-
ment and thus being able to depict the storytellers' wishes. Those wishes

261. I paraphrase and depend heavily here on the magnificent study by Rodolfo
Gil, Los cuentos de hadas: historia magica del hombre, 1982, Editorial
Salvat: Barcelona.
 tricks and
'bTty with artistic emotion. There is an ample array
were, among others, of adventure, of getting out of oneself, of contra poS~ 11 2~.
charm people of all ages. . .
objects and nature, of imposing justice, the triumph of good, of ins Ies ~o . . vitation to deeper research mto
lVlaY this brief analysis serve as an !n
taneous and magical translocations or of finding the treasures of hid
wealth, fountains, magical plants and stones that give eternal life, ete .Sew-•
,ind similar fields. ,
d mos+ useful knowl-
youth, complete wisdom and happiness. an ideas suggestions, themes an a I
. Needless to say, m Y ' d f th's magical literature (fairy tales,
In many of these stories, the gods give man a power and transfo b drawn from· the stu Y o i , .
edge can e . d th mythologies of all civilizations-
' · ) which mclu es e '.
him into a hero. But with social and cultural evolution, the story lost children s stones ... ' . . M an etc.-and certain
Celtic Germanic, Nordic, Persian, ay ' .
primitive function, yet kept its form and its sacred, mysterious characte Greek, Roman, ' . . (H G Wells) withoµt forgetting the
. l't t re and science fiction . . '
Later, with the passing of time, stories lost their expression and fantastic i era u, . . l realism (Gabriel Garcia Marquez,
extremely beautiful and suggestive magica
relevant content to become literature and sometimes popular cul
Julio Cortazar, Woody Allen ...).
Some stories took the shape of fairy tales or children's stories
White, Tom Thumb, Sleeping Beauty) of a great symbolic power.
Rodolfo Gil says, these were not simple trivializations of local stories and
myths but, rather, personalizations of universal myths, in local forms,
which every social group leaves its footprint.
With all the above, we can see a clear parallelism with the art of magic.
If in its origins it could have been a way to attempt to control and conjure
with the forces of nature, to manage to fulfill the archetypal wishes of
humanity, it became, with time, an art form. Its games are not a trivializa-
tion of those desires but a metaphoric presentation of the archetypal and
universal myths on which every period of history, every magician, leaves
a mark.
Both disciplines go from their magical, esoteric and mythical origins
to an art form; literature in one case, artistic magic.in the other.
On the other hand, when fairy tales lose their function and sense for
adults, they are replaced or are complemented by narratives of a high liter-
ary and artistic quality that perfectly match the forms of fairy tales but are
addressed to, and enjoyed by adults (Alice in Wonderland, The Lord of the
Rings, etc.). New myths and new heroes (Superman) are created. These
enjoy a certain ambivalence, capable of connecting with people of all ages.
The parallelism with artistic magic is clear. Therefore, there is room in
it for tricks full of fascinating fantasy that specifically address pre-logical
childhood, as well as those that address adults by combining logical
 MAGlC AND FlLM

Film, the natural son of magic. It was created in many of its aspects by
magicians. There was the magic lantern, then Robertson's phantasma-
goria: images animated by being projected onto dense, moving, white
smoke, while hidden traveling lanterns moved to augment or diminish the
projected images. Auguste Lumiere was a magic lover. Georges Melies
was a magician and the owner-director of the Theatre Robert-Houdin in
Paris. He edited and mixed shots to create, through tricke:cy, a new reality;
transparencies; double exposures over black, etc. He also created several
genres in film, especially the narrative one: stories of adve~tures, of sci-
ence fiction (A Trip to the Moon, The Impossible Voyage, etc.). See Erik
Bamouw's The Magician and the Cinema for many facts about Melies
and for Barnouw's prediction (unfulfilled, of course) that film would make
its mother, magic, disappear. 263
Film is a magic trick with various effects, secrets and gimmicks, begin-
ning with the essential one of the illusion of reality. It is actually only still
263. The Magician and the Cinema, Erik Barnouw, 1981, Oxford University
Press, Inc.: Oxford and New York
images that, through an optical secret, an illusion, seem to movt. To this The credibility of magic-illusionism has been tested in documentary
have been added a thousand and one tricks of editing ' the new ~o film and proved valid (for example, Channing Pollock's performance in
~ mputer
tricks of today (2018), etc. European Nights). Magic on television has also achieved total validity
Film has similarities to magic in the control of the spectators' atten- and great impact. In both cases, it is ac~epted that what is being broadcast
tion, expanded by framing, editing, planning, lights, camera moveme ts (live or deferred) is a reality (the magician's performancep and that no
n ' camera tricks are being used; although nowadays, unfortu~ately....
etc. The spectators see what the director wants them to see. He controls
their attention, directing it and separating it from what.he wants to conceal Film is dreams in imag~s. Magic is dreams with real people, in reality
(for example, in the book of Franc;ois Truffaut's interviews of Hitchcock, (see "Dream, Magic, Reality", p. 32).
see the comments on Anthony Perkins going up the stairs in Psycho).264 There is danger in constructing scripts for a magic trick or act as if
Further similarities are found in the structure of scripts. There are writing a film script. These arts have different objectives (see "Conflicts in
differences as well, in the treatment of the impossible; a sensation that Magic and Their Curves of Interest", p. 239).
film doesn't seek out, but that magic absolutely does. See the movie F Jor Also remember that movies tell stories. Magic doesn't. Magic presents
Fake, by Orson Welles (magician and filmmaker). This is a profound study "miracles".
that shows and demonstrates the relationship between magic and film Here is a very condensed summary:
' Magic created a trick so powerful, so wonderful, that it became an art
truth and lies, truth and illusion, with a masterful final trick unveiled by
Welles, a fusion of magic and film. in itself: the art of film. We have many other tricks left, many other mira-
Enjoy Cocteau: Beauty and the Beast, Orpheus, Testament of Orpheus, cles, many other dreams!
the magic of film-poetry.
Read the quotations from multiple movie directors who express their
sense of feeling like magicians or wanting to be one: Billy Wilder, Ricardo
Franco, Ingmar Bergman, Woody Allen ....
Remember: Magic doesn't produce the same effect on film, not even
close, as it does in reality (the "trick" is known: film editing). There is also
the transformation of the presentation of magic in reality, re-presenting it
within fiction (see "Person, Personality and "Character", p. 264).
There are similarities in the social perception of film in its begin-
nings-scientific curiosity, popular amusement, carnival art-and that of
magic. The evolution of the social perception of the art of film has been
accelerated, due largely, I believe, to the industrial growth of film, which
brought about the professional devotion of a large number of people to it,
making it grow and mature very quickly. That's how the social perception
of the art of magic is evolving these days.

264. Hitchcock/Truffaut, Frarn;ois Truffaut, 1966, Simon & Schuster: New York
 MAGl C AND DRAMA

Aside from the relationships already studied and discussed in other chap-
ters of the book, 265 here are a few more thoughts:
If we try to approach or to stay as close as possible inside the realm
of reality, to allow magic to offer its maximum impact, it is evident that
the persona of the magician should be perceived as real (the persona and
his personality), without the need for creating a character (a feature of a
re-presentation). The more real and natural the persona of the magician is
perceived to be, the more powerful his magic will be. That doesn't mean
the magician shouldn't amplify his personality to the maximum. Ancient
magicians took it to the limit, seeming almost the same in real life, main-
taining the same attitude they presented on stage, even if it was an attitude
oi,an uncommon personality: someone of extreme elegance, who controls
every situation, etc. They didn't represent it; they lived it.
Therefore, it is sometimes dangerous and possibly counterproductive
to study theater in academies of dramatic arts, learning and using tech-
niques for the voice, diction, mime, etc. Spectators might sense that the
magician is not being himself, that he is acting and, except in sketches with

265. For example, "Dream, Magic, Reality", p. 32.

 537
536
absolutely not a character) of the magician are essential, along with the
a dramagic
. plot, they may lose the scent of magic in reality or In
· a near
agical effect and the secret method. Drama ( emotions evoked dunng
reahty. Extreme examples of all this were the magic comedies ( .
. . comedia :e pr~cedure of the trick) and the elements of presentation (lighting,
de magia) of eighteenth-century Spain that used many effects d
. . epending ·c costumes sets etc.) do help, but only that: They help.
~n ~tage mac~mery, and the magical effects, many of great technical qua{_ muSi ' ' ' ,
Summing up my thoughts: Magic and drama are beautifpl performing
ity, mcluded m some present-day musicals. They were never felt nor are I

arts with different aesthetic. objectives. I point out this difforence only to
they felt as magic of the impossible.
counteract a certain generalized opinion of the similarity qf the two arts,
. is a similar danger in studying and applying.the rules for
.There ·•
- wntmg making them seem almost identical. This is surely based: on the appar-
scnpts of great dramatic impact. Let's remember what we discussed in the
ent evidence provided by the use of common instruments: stage space,
chapter on conflicts: in general, the more external dramatic interest, the
weaker the magical impact. Dramatic interest inherent in the trick or the speech, a certain plot, lights, costumes, etc.
In summation, magic and drama have different objectives, two differ-
effect itself is, on the other hand, something desirable.
All this doesn't keep us, however, from positively considering some ent levels of reality and a few common instruments.

features shared by magic and theater. Magic-in particular stage and par~
lor magic-is, after all, a stage art.
Among those common elements, the study and knowledge of which
the magician can well use to his advantage, are the control of spectator
attention to what occurs on stage, the movements of the characters (in
the case of the magician these would be himself, his assistants and the
spectators he may have invited on stage to help), the level of attention
accorded to the area of the stage on which the trick takes place, the move-
ments and paths walked by the magician, his dramatic diagonals across
stage, his approaching the audience on reaching the climax of the trick,
ways to "fill" the stage, the use of lights and music, etc.
These are, I repeat, some of the common elements. They are common
in their possibilities but may differ in their handling, since the objectives
of the control of the attention and of dramatization, we must remember,
are different in both arts. Because of all this, there is an aesthetic danger
when a theatrical director consults for or directs a magic act, unless he is
a magician and understands, feels and experiences magic himself, or the
performing magician is able to determine which pieces of the advice he
receives through that consultation will prove positive to his magic.
In that regard I feel it very important to keep in mind that magic is a
non-representational art, that the person and the personality (which is
 MAGlC AND MUSlC

Two fascinating subjects, two miraculous arts, two loves always confessed.
But very different.
There are, of course, relationships between them, some evident and
almost obvious, others subtle and almost secret.
Some of them are:
Both are arts of time. Therefore, everything that has to do with rhythm,
silence and pauses is important. Since I've already discussed rhythm, time
and pauses in magic in Chapter 5 (p. 285), I refer you there.
Both are performing arts that need a performer of the work .to mediate
between the author and the recipient.
Bt9th often use sophisticated digital techniques for the performance.
Pianist and prestidigitator are two classic symbols of digital skill, of tech-
nical mastery of the movements of hands and fingers.
But I think I can see an essential difference: Music is not as symbolic.
Rather, it stirs the emotions of the listener directly, while magic stirs the
spectator's emotion of wonder indirectly through the vehicles of intellect
and logic.
 041
540
Mathematics is another element music and magic have in common.
One is essentially emotional ' the other essentially intellect ual. Thi
-
8 pyt1tagoras saw mathematics as the essence of music. Magk has a partial
not to suggest that we forget the emotional incarnation of m · . ·. · ,:
. . . ag1c or its PltH , t· n to mathematics: Doesn't magic often offer a contmuous demal
found symbolism,
. which 1s the essence of magic-' but that's anoth er sto , connec 10 _

In music, the pleasure of stirring feelings and passions 1· · ry. f two and two making four?
0
• . . . . s immediate won't get into the more superficial, incidental relatio~ships between
and direct. 1
. L1stenmg to. a piece of music is, from beginning to end ' a rather · and music like magic acts set to music, where rp.usic not only
relaxed time. magic , .
. In magic,
. . conversely' rest for questioned log1·c comes only
1

ies but also creates an atmosphere, sets the rhythm and under-
after accompan _ ..
. ,the tnck or .sess10n
. is over' when we return to, rea11·ty k nowing
· that,
Jines effects; nor into semantic relationships in which ~agic IS defined
smce we are dealmg with art, we are back in the joyful and sooth·mg realm
as the art of enchantment, and enchantment can mean jqyful magic, and
of reason. There is a logical explanation, a natural reason we don't know
1 further, that enchdntment was derived from chant in vocal music; nor arn
but we do know it exists.
getting into the realm of poetic relationships, such as the magic of music.
On the
. other hand, there is a third element that curiously b nngs
· .
magic 1
But I do want to end with a deeper attempt to rmderstand the relationship
and. music
. . together through having elements in common
. wi'th b oth·. comedy,
between the two arts. We can consider, in a simplistic and sketchy way,
which 1s m some formal aspects a natural sister of music, despite the fact
that the musical art could have originated in the imitation of bird songs, of
that they hardly relate to one another. Both play with time, with rhythm
the chants of men, of the vital rhythms (such as the beat of the motherly
with cadence, with tone and, above all, with silences and pauses. Watch an~
heart heard when still in the peaceful womb) and from the harmony and
listen to the great comedians. The length of phrases or the sound of words
sympathy of sounds. But, as we've all heard, because of its sublimity and
is often as responsible for laughter as their meaning. Eugenio, a well-known
perfection, and because of the pleasure it produces in us, music is said to
comedian, told his jokes with a voluntary monotony and lack of expressive-
be an imitation of the angels' celestial music, the supreme pleasure prom-
ness, playing only with pauses. (Stephen Wright is another comedian widely
ised to the blessed. We also know that the art of magic had its origins in
recognized for this deadpan style.) I have listened to Austrian comedians
the imitation of the supernatural, the power of transformation, the control
working in German (a language I don't speak) and found myself laugh-
of time, the creative and animating power, the giver of life and soul. It was
ing, only because of the pauses prior to the punchline. That's why most
therefore an imitation of the gods.
comedians are good singers (sometimes in parody) or musical performers.
So, between the two arts, celestial music and divine and almighty magic,
Let's remember, clowns have always been musical performers. They used
we have here on earth the true (and for some the only) heave~. So be it.
to be known as eccentric musicians. There was no circus show in which
the performance of the clowns didn't end with their own musical act, play-
ing saxophone, accordion or trumpet. Recall that Groucho was originally
a singer and sang in the Marx Brothers movies; Harpo and Chico always
had harp and piano spots; Chaplin had his violin; Woody Allen, his clarinet;
Donald O'Connor, his marvelous "Make 'Em Laugh" in Singing in the Rain;
Victor Borge, his piano; Jerry Lewis did dances and songs; the Swiss clown
Grock played violin and piano; Les Luthiers had a thousand comical musi-
cal devices. And many more examples could be cited.
 MAGlC AND PA1NT1NG

Surrealism, as we have discussed, 266 possesses a deep parallelism or rather

a convergence with magic. The same happens to surrealism in painting. In
my judgment, what separates magic and surrealism is the different treatment
of the impossible. Surrealism doesn't seek out the impossible. Magic does.
Facing a painting by Magritte or Dali, we can feel everything the poetry of
surrealism proposes. We experience the border between wakefulness and
dream, between reality and imagination, and perhaps a first moment of
destroyed logic that brings with it smprise and paradox. But we know how
the painter has produced it. We are not astonished before an impossible real-
ity. Its objective is different, and so is the sensation we perceive,. Magic, on the
other hand, doesn't exist without the experience of the impossible. They are
in fuat sense not quite identical, yet are similar approaches. That proximity
makes surrealism in painting a notable and fruitful source of suggestion for
magicians. I am thinking of the paintings by Magritte in particular, but also
of those of Wilfredo Lam, Roberto Matta, Oscar Dominguez, Yves Tanguy,
Salavador Dali, Max Ernst, etc. Let's also include the drawings of Escher, the
photographs of Man Ray and Chema Madoz, and the movies of Luis Bufiuel,
266. See "The Material: Dreams", p. 29.
 b4b

Jean and Jean preceding dada-

ists (Francis Picabia, Tristan Tzara, etc.) who inspired surrealists' magic
and, above all, brought them suggestive, unsettling, provocative and beautiful
emotions. They made the surrealists live the world of dreams, the surrealist
poetry, and surely impregnated them with the spirit of the ethereal material
of dreams and wishes, of poetry in motion, of the anti-logical, the absurd, the
imaginative, where the borders between art and life are weakened. (Does all
this ring a bell, especially to close-up magicians?)
Another very interesting point in my understanding of the proximity
between magic and painting is the need for the exquisite control of atten-
tion and perception. Both arts possess it, although they differ in some of
the artistic tools used to achieve such control; the magician's voice, body,
gaze and actions; the painter's ways of drawing and the use of color. Other
tools are shared by magic and painting to a greater or lesser degree. As we
know, in a painting, the artist controls our attention through composition,
color and light, and makes us see things following an order predetermined
by him. He creates a visual journey of perception and attention that makes The Cheat with the Ace of Diamonds, Georges de La Tour, 1635
us experience the elements of a painting in a given order. The painter plays
with the light of the scene depicted in a representational painting, and with
composition and the strength and variety of colors in an abstract one.
In representational painting, the lines and structure of the composi-
tion guide us in our journey, or at least suggest it. Also-and this, I think,
is what brings us the closest to magic-the direction of gazes of the char-
acters represented, their hand gestures and their faces will probably lead
us along the path the artist desires us to travel.
Let's look at an example:
In Georges de La Tour's The Cheat with the Ace of Diamonds (1635),
the path of th~ spectator's gaze is not as free as one might think The painter
has arranged the light,, composition and, above all, the hands and eyes of
the characters in the painting to guide us or join us in a prescribed jour-
ney. Thus, one of the possible paths among several would be to start with
the face of the central character (1) and capture almost at the same time
the illuminated playing cards in the hands of the player on the left (2), our
 b4'/
546
;ttitudes, their upward glances seeking divine inspiration or the concep-
gaze moving back and forth between these cards and the eyes of the c.
tion of supernatural power, the magical atmosphere that emanates from
character (1 ). From there, thanks to her somewhat elevated gaze, we
;and surrounds the whole scene, and th~ feelings exuded from each paint-
at the standing figure (3), who leads us with her gaze to the charac
Jug capture us, grab us as spectators. I think all this can be inspiring to us
the right,. his face and his hands holding the cards (4) . The proxmutyof
· •
magicians and help us to stay away from the trivializati~n of gestures
bright cleavage of the central character attracts our eye and leads it to 85
and attitudes that have little_ or no connection to the rite. T~ese paintings
right hand of that fig~e (5), and the extended forefinger of that hand gui
aid us in feeling the spirituality of our art, its bond with.myths, its sig-
our gaze to the playmg cards (the Ace of Diamonds and a duplicate can ,
-nificance, its symbolism, its metaphoric sense-from the mystical attitude
hidden in the waistband and hand of the card cheat on the left.
f the saints to the mystical attitude of magicians.
It's interesting to note that, at first glance, it is difficult to see 0,.
And all this without the need for symbolic sense to be explicitly
cheat's dishonest action of procuring the Ace of Diamonds behind
expressed. I believe that the magician-artist's inner experience of the
back, even though the idea is included in the title of the painting. I had
opportunity to prove this the first time I saw the painting at the LoJ miraculous event is sufficient.
Neither should we forget the enormous number of paintings featur-
In showing the painting to friends, it sometimes took them a surprisin
ing mythological topics. These make available to magicians a multitude
long time to see the trickery. Isn't that magic?
of miraculous, mythical, magical themes. See and enjoy the works of
It's a magnificent example, I think, of the relationship between
zurbaran, Fra Angelico and Valdes Leal, to mention just a few examples-
and painting. Bodies, glances and hands guiding the spectator's gaze
but what examples! Note the mysticism and almost magical quality that
attention. How wonderful!
emanates from Rothko and Kandinsky, to give a few more examples-
Magicians can learn a lot from the study and understanding of psyc
and what examples! The Prado Museum, the Seville Museum of Fine Arts,
logical techniques used by painters.
~the Washington National Gallery of Art, the Guggenheim Museum in New
Equally interesting, I believe, is the study of the treatment painter$
York, the Magritte Museum in Brussels and so many others await us with
all times have given to scenes of magic, especially in their represent ·
their magical treasures. So much to learn! So much to feel!
paintings. I am referring to paintings with religious themes, partic
those illustrating miracles. Let's remember that artistic magic is a
senter of secular miracles.
Examine paintings like Francisco de Zurbaran's Saint Peter Pas
c. 1630, and Saint Hugo of Grenoble in the Carthusian Refectory, 1
Juan de Valdes Leal's Fray Fernando Yanez de Figueroa, c. 1657,
Alonso Fernandez Pecha, c. 1657, and Fray Pedro Fernandez Pee
1657, Bartolome Esteban Murillo's The Vision ofSaintAugustine, c.
and The Stigmatization of Saint Francis, c. 1601, Leonardo da Vi
Saint John the Baptist, c. 1515 and Marc Chagall's A la Russie, aux
et aux autres, 1911, and you will observe the highly expressive body
tures and foot positions of the saints, the miracle makers. Their foe
 APPENDlX 2

TRl Cl(S, SYMB LS

A MYTHS
 BACKGROUND
(A BRlEF PERSONAL STORY)

In 1970, I ended my period of film directing and decided to devote my life

to magic, but I began to feel a certain emptiness in magic as an art. Facing
such an essential decision, I felt the need to comprehend through reason,
, analysis and intellect, the depth, power and complexity of the art to which
I would devote my existence. Still, the overriding intuition and inner feel-
ing that carried me on were crystal clear to me. There was in me a shining
sun, an inextinguishable burning passion for magic that started when I
was six or seven years old. It was so powerful, it was all I really needed to
make that important personal decision.
Nevertheless, it wasn't an easy decision, given my personal and fam-
ily circumstances. I was married, with two daughters (one newly born,
the other only two years old), and I would be walking away from a good
income by leaving my new job in a marketing agency. But let's face it, it
was ajob that didn't really enrich me in the slightest, as it was foreign to
almost all my beliefs and feelings.
Furthermore, the type of magic I wanted to perform, to which I devoted
myself body and soul, was from a professional standpoint non-existent:
N 552
close-up magic and parlor or spoken stage magic conceived for adults\.
,m
venues suited to my style and personality, which meant no music halls or
night clubs.
And. that's how it went. For four years I had very little professional
work; only a few talks for magicians and some brief summer tours for lit-
tle pay in hotels along the Mediterranean coast. Help from my family and
the small
. salary Mary Pura, my wife, earned as a nurse allowed us barey
1 off on its extremely beautiful venture.
to make ends meet. Mind you, they were joyful, luminous years of intense
life. I studied magic, tricks and books (Saint Puchol!) and developed rou-
tines and acts, the Paris Act among them.
So, while the decision was difficult, I didn't doubt for a second what
my choice would be. This did, though, demand that I assess for myself
the stature and depth, human and artistic, of this supposed art to which I
was devoting my life to the end-and a couple of years more! So I spent
many of my free hours (about twenty-five a day fit that category) thinking,
meditating and trying to comprehend magic.
While some magicians regard magic as an art, most people see it as a
very beautiful and pleasurable vehicle of entertainment and amusement
(which it is, of course, to the highest degree). There were a number of
magicians who saw magic as an art (S. H. Sharpe, Keith Clark and oth-
ers), but they were unknown to me and my magical compatriots, and only
Maskelyne, Robert-Houdin (through Father Ciuro) and Ascanio fostered
that perception.
And so, after a period of much thinking about the subject, return-
ing from a magic convention in San Sebastian in 1972, I had a near
apotheosis:
1. Magic is about dreams (like movies) and the desires of man to
show them to us as possible and realizable in reality-artistic
reality.
2. Therefore, one should devote time, effort and enthusiasm in order
to be thorough in its performance.
3. Magic was, then, worth the effort-so much effort!-and was,
without a doubt, worth my whole life.
;j
553
Before then, I had formed the clear idea that a good way to achieve
all this would be through a joint effort, working in an open group, with no
secretiveness, all of us pursuing the sa:i;ne objective. After my return from
San Sebastian, I wrote an artistic manifesto and was imm~diately joined
by Jose Puchol, Juan Anton, Ramon Varela, Camilo Va~quez, Ricardo
Marre and Maestro Ascanio. With this, the Escuela Magica 4e Madrid took
Magic, Myths and Symbols
During those years and the following decades, I started analyzing magic
more and more, trying to understand how the artistic presentation of
human wishes, of impossible dreams, had perfect counterparts in univer-
sal mythology. The discovery of S. H. Sharpe's books and then those of
Mircea Eliade nurtured and fine-tuned my beliefs, as did my friendships
with a marvelous group: the refined writer Ramon Mayrata, the amazing
Gabriel Moreno, the sensitive painter Carlos Franco and the profound
Luis Garcia (who was already walking a parallel path). From this came
the thought that mythical ideas are possibly communicated at a symbolic
level, although, in stage illusions, the level of symbolism is sometimes
more direct, more evident: Sawing a Woman in Half, levitations, etc.
I began to observe that most of the good and classic effects embodied
symbols of impossible wishes that did not need clarifying patter, and that
those wishes could also be fulfilled-in artistic reality-by experiencing
manipulation, mentalism, general magic and close-up tricks.
Reading classical mythology and studying my love (always and to
this very day), surrealistic art (Magritte, Cocteau, Man Ray... ), helped
me to feel those ideas and to advance in the thoughts they produced.
Seeing that others with undoubted intellectual capacity and sensitivity
had started from different points than I did, and had reached conclu-
sions on which we converged, helped me to avoid thinking: Am I making
this all up? Am I constructing theories to justify my decision? Is magic
simply entertainment, perhaps even trivial, and I am trying to avoid that
reality to feel better?
 those years, when I commented on my thoughts, my "dis~ov-
eries" (the cut rope is death and its restoration is resurrection), most of
my magic friends gave me a condescending look "Oh, yeah, of course ...
it could be." Other times they were more direct. "Listen, Juan, you are
looking for something where there is nothing. Magic is nice, of course. It's
even complex in structure. There is misdirection and timing and more.
But I don't see any of those symbols you're looking for."
It would be unfair not to mention that there were exceptions, before
and after, from Puchol to Roberto Giobbi and from Gaetan Bloom to
Darwin Ortiz. They listened attentively and shared the possibility of sym-
bolism being inherent to all magic.
After a slow digestion and assimilation of this concept of artistic magic,
after testing it in continuous performances before diverse audiences, after
exchanges with the living (in conversation) and the dead (through their
SOME PHENOMENA OF CARD MAGlC
books and writings), and after reading ideas having a certain parallel-
Here is a list of the phenomena in card magic, with the emotions, mean-
ism (Sharpe and his Neo-Magic and Magic Artistry), in the late 1980s I
. ymbolism and myths that are related to them. The list is surely
decided to publish the developments and conclusions (tentative, as is any mgs, s . . . 267
incomplete, at times "creative" and in all cases very subJect to opm10n.
worthy conclusion) I had reached. The results are the articles about magic
and surrealism, classic effects, symbols and mythology, that I wrote in ASSOCIATED MYTHS,
PHENOMENON
1982 and afterward, which appeared in the already legendary Circular of PHENOMENA SYMBOLS
(EFFECT)
the Escuela Magica de Madrid and in my magazine-books Magia Potagia. Elijah. Jesus.
1. ASCENSION Rising to heaven.
Luckily, and this makes me happy, these days (2018) there are several Animation (gift Buddha. Icarus.
(levitation)
groups and authors that, traveling parallel paths, have reached similar of anima, soul). Rising to heaven.
Liberation. Excelling. Saint Teresa. Yogis.
thoughts (Eugene Burger, Luis Garcia, Robert E. Neale ... ) and some have
Individualization.
even based their work on these "crazy ideas" (Pietro Fancini and others). Triumph. Standing out.
A fraternal and happy coincidence! Mysticism. Holiness.
Glory.
Knowledge. Mind read- Third eye. Psychic
2. DIVINATION
(thought ing. Transference of powers.
transmission) psychic and mental gifts.
Communion. Control.

267 . Some of these opinions come from knowledgeable and lucid minds, includ-
ing that of my dear and esteemed friend, Roberto Giobbi.
N
,-- 556
557
i1m
~ MYTHS,
-< PHENOMENON ASSOCIATED ~
~
PHENOMENON ASSOCIATED MYTHS,
(EFFECT) PHENOMENA SYMBOLS >
C)
(EFFECT) PHENOMENA SYMBOLS
~
__,j

Death. Vacuum. The Fates. The n

;z: Fine-tuned senses (divin- 7. DISAPPEARANCE
~z
DMNATION
Dematerialization. invisible man.
-<
;:s (cont.) ing cards by touch, ( of a card, of sev-
Making the visible
Transformation into
,---, determining a number of eral, of the whole I

cards by weight, X-ray
vision). ESP. Capturing
thoughts at a distance.
3. PREDICTION Prophecy. Wisdom.
(of a selected or Revelation. Divination.
thought-of card or Fortune-telling.
of a later event) Traveling to the future.
Premonitory dreams.
Omens.
4. TRANSFORMATIONS Metamorphosis.
AND CHANGES The mask Change.
( changing the faces Concealment. Costume.
or the backs of Being another. Card
cards and pips) switches in betting
games. Ambition (always
winning).
5. CREATION, Creation. Materialization. God or creator gods.
APPARITION Making the invisible visi- Ghosts. The alchemic
(of a card, of ble. Spiritism. Ectoplasm. egg. Apparitions
one among oth-
ers, stage card
manipulation ... )
6. LOCATION Perception. Magical
1
intuition. Divination.
Dowsing. Capturing
of the aura, of waves.
Sensitivity. Revelation
of the gods, of superior
forces.
ghosts./
deck, of the card invisible. Reduction to cd
no.thing. Ghosts. Spirits. 0
case ... )
The whole of ~
8. MULTIPLICATION Abundance. Cloning.
Creation of life. abundance. The
(of one or several loaves and fishes.
Augury. Time control. cards) Doppelganger.
Flowering. Spring.
Prophets. Libation.
Nostradamus. Transference of guilt. Good and evil.
Sibyls. Fate. Oracles. 9. TRANSPOSITION
(of two cards, of Control of space.
Premonitory dreams. Transference of gifts.
Psychics. Astrology. several changing
Esoteric "magicians". places, changing
Curses. Destiny. positions ... )
Control of chance. Auguries. Matching
10. COINCIDENCE dreams. Coincidence
Alchemy. Zeus and (of two cards, of Control. Harmony.
in life. Plot of the
his multiple meta- the number of cosmos.
morphoses. Actaeon cards in pack-
transformed into a ets, of the order
deer. of two packets,
of the order of
colors, of two
complete decks,
of cards at num-
bers in the deck)
Making something come God or gods.
of the Virgin or the 11. ANIMATION Shamans: Animation.
(moving cards, alive. Providing a soul.
saints. Of God to Telekinesis. Human
Haunted Deck,
Moses. Of angels or magnetism.
demons. "Self-cutting
deck. ..)
Miraculous journey. Ulysses. Jason. Magic
Dowsing rods. 12. JOURNEYS carpet.
Finding treasure. (from one packet Control of space.
to another, from Disappearance
one spectator to and reappearance.
another, up the Invisibility. Teleportation.
sleeve, to closed Transference of guilt, of
locations: little gifts.
 ~
N 558 559
~ (l'j
-< PHENOMENON ASSOCIATED MYTHS,
~ ASSOCIATED MYTHS, PHENOMENON
SYMBOLS ~
~
(EFFECT) PHENOMENA SYMBOLS (EFFECT) PHENOMENA >
C")
__,j

n
~ JOURNEYS
18. VERBAL MAGIC Power of existence. The voice. Healers
;:s
~
(cont.) (with cards in the Transmission of powers. through the spoken
Physical impossibility. word. Spells. Magical ~
__,j

boxes, cases, wal- hands of specta- zo:l

let, etc.) tors who carry out Power of words. Miracle formulas. The Bible's
rituals dictated at in your hands. Collective Choseri People. 0
a distance by the power. Group cohesion. Saints.;Magical ~
13. MIRACULOUS Order in chaos. Harmony. God. The first day of
magician to pro- Communication. rituals.
SORTING Magical sorting (Mary creation.
(by numbers, Poppins). duce the magic)
by colors, by Control and mastery Last game of chess
19. GAMBLING
suits ... ) DEMONSTRATIONS of chance. Exceptional with Death (The
(cheating at skill. Greed. Ambition Seventh Seal). Help
14. SUGGESTION, Making people see what Visions. Hypnos.
games, winning of winning. Feeling from the devil.
HYPNOTISM the magician desires. Shamanism.
(cards are seen Controlling their minds through magic invincible.
with identities and their perception. powers)
that are not the Hallucination. Putting 20. IMPOSSIBLE Liberation from gravity. Mystics. Yogis.
real ones, the to sleep (not from BALANCING Spirituality. Magic flight. Saints.
whole deck with boredom!). ( of playing cards, Tightrope walking.
identical cards, cards or card case
or all blank, all floating, flight)
backs ... )
15. SPELLING Power of the word. 21. REVERSED CARDS Individualization. The chosen one.
God and the Logos.
(the name of a Power of the name. ( one of four, one Standing out. Rebellion. The Anointed.
Kabbala.
selected card, of Control and power over among many, Success. Triumph.
words that indi- the cards. Obedience. many at the same Feeling unique.
cate actions or time ... ) Superiority. Being
situations ... ) different.
16. TOPOLOGICAL Solid through solid. Houdini. 22. MATHEMAGIC Control of chance.
TRICKS Control of shape. Prometheus. Rising (with cards) Mastery of numbers.
(union or escapes Liberation. from Hell. Harmony of the abstract
of cards) "It world (numbers) and the
specific world of playing
17. PENETRATIONS Solid through solid. Walking through cards.
(through a book, 1
Escape. Liberation. walls. Ghost
case, handker- Control over matter. vs. matter.
chief, mat, table, Digging into intimacy. Dematerialization.
floor, glass, Ghosts and spirits. Spiritism. Angels.
bottle, box,
tablecloth ... )
 SOME CLASSlC TRlCKS OF CARD MAGlC
(in alphabetical order)

This is a list of the best effects in card magic. 268 I have chosen some clas-
sics guided by the criteria that they have passed the test of time and have
diverse versions. Missing are some that are too specific but of great qual-
ity. I am thinking of Paul Harris's "Solid Deception" and "Bizarre Twist",
Alex Elmsley's "Between the Palms" and "Point of Departure", and "The
Partagas Sell", among others.
May this list serve to suggest and, I hope, transmit, my passion and
my respect for such works of art and their creators, including Dai Vernon,
Tommy Tucker, Jean Eugene Robert-Houdin, Dr. Jacob Daley, Ed Marlo,
Francis Carlyle, Lin Searles, Paul Curry, Alex Elmsley, Giuseppe Pinetti,
Bn;.>ther John Hamman, Jan Gombert and Johann Nepomuk Hofzinser.
Obviously, given the difficulty and subjectivity of the subject, this is only
a first attempt, in a simple table format and, occasionally, almost a game.
The artist definitely needn't know or be aware of all this. His intuition
and sensitivity will suffice.

268. Best for me and for those who collaborated in compiling this list, especially
my great friend Roberto Giobbi.
 563
N
r--
~
562 i1
t'T1
-< May the following pages serve for us to perceive and realize, in ah TRICK PHENOMENON ASSOCIATED MYTHS,
~
~ PHENOMENA SYMBOLS
>
~ overall way, how much is hidden behind our tricks and how ric11 our art
Ascension Gods.
G')
__,j

is. This, after all, is the true secret. No more and no less. 5. Card on Location (6) ('"_)

~ Olympus.
~
Note: The numbers in parentheses are references to the previous list Ceiling into heaven.
~ ' Power. Pride. Heaven. The __,j
~
'

"Some Phenomena of Card Magic". I am adding here some specific fea- zcrj
Singleness. The hero.
tures of those tricks. 0
inaccessible. ~
TRICK PHENOMENON ASSOCIATED MYTHS,
PHENOMENA SYMBOLS Location (6) Sexual penetra- Justice.
6.Card Stab
1. All Backs Transformation (4) Individualism. Creation. From tion. Danger: Punishment.
Apparition (5) Endowment nothing to life. a certain Deflowering
Suggestion (14) of identity. Birth. sadism. Death. (phallus-
Nomination. Execution. hymen).
Birth. Kabbalah.
7. Card to Coincidence (10) Harmony of
Resolution of Numerology.
Number Mathemagic (22) reality and
the absurd. Pythagorism.
of numbers.
Solution to hor-
Coincidence
rorvucui.
in the abstract
world (num-
2. Ambitious Penetration (17) Rise. Power. Hindu liberat- bers) and the
Card Ascension (1) Improvement. ing gods. concrete world
Individualism. (playing cards).
Liberation. Obedience.
Localization.
Journey (12) Return home, Ulrsses.
8.Card to
3. "Back in 'Ilme" Journey (12) Control of time. Resurrection. Pocket to the motherly
(torn and Vanish (7) Rebirth. Chronos. .....
breast.
restored carq.) Reappearance (5) Regression.

9.Card to Journey (12) Safety. Shelter.

4. Cannibal Vanish (7) Humanization Cannibalism. Intimacy.
Wallet
Cards of objects. Saturn
Fusion. Death. ( devouring his 10. Cards through Penetration (17) Descent into Hell. Orpheus
Resurrection. children). Table Introspection.
N
,.... t>b4 5ob
~ ~
< TRICK MYTHS,
r,j

~ PHENOMENON ASSOCIATED PHENOMENON ASSOCIATED

MYTRs, TRICK ~
~ PHENOMENA SYMBOLS PHENOMENA SYMBOLS
>
C"J
z Cards Control over
~
Transformation (4) Reduction. Alice.
....I

<
;:s through Tobie
15. Diminishing (j

~
matter. Escape. Cards Return to Regressions.
~
(cont.) childhood. z
cd
Regression to
11. Clock Trick Divination (2) 0
Control of time. Chronos. the womb or ~
Location (6)
before birth.
12. Color Change Transformation (4) Disguise. Image. Invisibility.
Transmutation. Return to the
oftheBack Transmutation. Alchemy.
(of one beginning.
Philosopher's
card or of 16. Do as I Do Coincidence (10) Harmony Religious ritu-
Stone.
the whole between als. Control of
deck: Color- magician and chance.
Changing spectator.
Deck) Signs. Signals.
Communion.
13. Color Transformation (4) Change of iden- Change. 17. Elasticity Topological (16) Growth. Alice. Gulliver.
Changes tity. Disguise.
("Stretching Suggestion (14) Change of Procrustes.
Masking. shape. Maturity.
the Lady").
Change of Changing
Growth
personality. appearance.
("Micro
14. Cutting the Macro") Dream.
Location (6) Controlled and The roman-
Aces Nightmare.
tamed chance. tic gambler.
Torture.
Struggle: Struggle
Punishment.
gambler vs. between good '\

18. Everywhere Transformation (4) The gift of ubiq- The single

magician. and evil. The
and Nowhere Suggestion (14) uity. Bilocation and the multi-
Wisdom. hero (gam-
or trilocation. ple. Religious
Hyper-sensitive bler) wrestles
Suggestion. and mystical
touch. Cheating with the god
Mysticism. visions.
at games. (magician).
Remarkable skill. Dreams.
 ~
567
N
,-- 566
~ m
~ PHENOlVIENON ASSOCIATED MYTHS,
~
TRICK PHENOMENON ASSOCIATED MYTHS \ TRICK
PHENOMENA SYMBOLS ~
PHENOMENA SYMBOLS >
~ the real. Dreams
G)
---
z~ 19. Follow the Journey (12) Transference Good and evil. Invisible (")

;j Leader Transposition (9) of guilt. Order The Pied Piper Deck (cont) come true.
~
~
in chaos. of Hamelin. Correcting Triumph of
---
zco
23. Matching Location (6)
Leadership. Religious Transformation (4) a mistake. good over evil. 0
the Cards
Command and . leaders. ~
Metamorphosis. The power.
power. Group Gradual trans- Change.
cohesion. formation.
Communion. Triumph.
Obedience.
Pygmalion.
Loyalty. 24. Nudist Deck Transformation (4) Birth. Creation
Creation (5) of life. Arts. Zeus. Virginity.
20. Four Aces Journey (12) Reunion. Reunion of the Personalization.
(Assembly) Transposition (9) Cohesion. four elements Naming.
Occasionally: (Luis Garcia). Alchemy.
Vanish (7) Pureness.
21. General Card Transformation Mental control Visions. Poetry.
(4) of another and Hallucinations. Another order. Separation of
25. Oil and Penetration (17)
Suggestion (14) his perception. Attraction. good and evil.
Water Sorting (13)
Metamorphosis. Reunion of
Changes. colors. Change
Cloning. of structure.
Bilocation. Affinities.
Trilocation.
Divination (2) Psychic powers Saintliness.
26. Out of This
22. Invisible Prediction (3) Poetry. Heaven and of the specta- Yogis.
World Location (6)
Deck Reversal (21) Imagination earth. The plot -'\
tor. ESP. Final Shamanism.
and its power. of the universe. harmony. Order Psychics. The
Spirituality. Morpheus. in chaos. gifted.
The invisible.
Divination (2) Hyperesthesia. Heroes, almost
Relationship 27. Paranormal
(almost superhu- The almost gods (sons of
between the Powers
manpowers) incredible. The gods and
imaginary and (touch,
 ~
569
N 568
r-- Q"j
~
MYTHS,
-<
~
TRICK PHENOMENON ASSOCIATED TRICK PHENOMENON ASSOCIATED
~ MYTHS, .PHENOMENA SYMBOLS
PHENOMENA SYMBOLS
~
CJ
.....I

Inspiration. Mythology. n
z Paranormal desired. The humans). Men 32. Stories (with Location (6)
-<;:j Powers admirable. The almost heroes. cards as they Sorting (13) Creativity. Muses.
~
.....I

~
(cont.) doubtful. Mnemosyne. tum up) Order. Meaning. zo::l
Magical 0
weighing
narration. ~
the cards,
Journey (12) Hand quicker Sphinx (dilem-
memory) 33. Three-Card
Skill and cheat- than the eye. mas). Riddles.
Monte
28. Rising Ascension (1) Saintliness. Icarus. Jesus. ing at gambling Skill. Deception. Gurus.
Cards Animation (11) Buddha. games (19) Greed. Bet.
Romanticism.
29. Royal Journey (12) Order.
Game.
Assembly Sorting (13) Harmony.
Challenge
(the six- Family reunion.
to attention.
teen picture
Fooling the
cards), The
senses.
Hotel Trick
Topological (16) Death and Lazarus.
34. Torn and
30.Sandwich Apparition (5) Control of the Artemis. resurrection. Jesus. Yogis.
Restored Vanish (7)
Effects, Location (6) elusive. Safety. Reincarnation.
Card Reappearance (5) Duration.
The Visitor Encounter. Healing. Shamans.
Rescue.
Location (6) Order and har- Hero. Glory.
Salvation. 35. Triumph
Reversals (21) mony in chaos. Triumph.
Compassionate
help. Individuality.
Friendship. Triumph and
glory. Rebellion.
31. Six-Card Multiplication (8) The inexhaust- Hom of Plenty. Power.
Repeat ible. Richness. Inexhaustible Singleness.
Multiplication fountain. The
Playful things. Game.
of gifts. Life eternal return. 36. 1\visting the Reversals (21)
Aces Obedience.
cycle. Back to The wheel.
Magic of
the beginning.
 570

TRICK PHENOMENON ASSOCIATED MYTHS,

PHENOMENA SYMBOLS
Twisting the ritual (twist).
Aces (cont.) Rebellion (or
control).
37. Wild Card Transformation (4) Cloning. Mirror.
Mirror image.
Equality.
Infectious
magic. "To his
image be true."
Possession.
Mimesis.

APPBNDlX 3

I repeat: These are just notes on some thoughts. It's up to you, dear read-
ers, to complete them, enlarge them, improve them, following their path. HlDDEN WlSHES
If you wish. I will wait.
And, once again, they may be ideas to read and forget, while opening
the window to the intuition and sensitivity of the artist.
 HUMAN WlSHES

GIVEN my inveterate habit of making lists, and the good time I have doing
them, here is, for your possible amusement, a list of human wishes. It's
just one among many that are possible, but it's the one I thought of. I
know it's far from scientific, but it could help magicians to think about
this subject. It is so important from my point of view: magic as a fulfiller
of human wishes, and especially of impossible wishes, whether because
of their nature (resurrection, time travel. .. ) or because of circumstance
(survival while buried, returning home while being imprisoned ... ).
After this list, which you may skip or just skim, I describe, without
any claim of completeness, some of the existing effects· and tricks that
metaphorically fulfill these wishes. All this is based on my very personal
criteria. I also add some simple new ideas for tricks that don't yet exist
but that would fulfill the function of making us feel that, at least in an
artistic experience, these impossible wishes can be made possible. These
new ideas are scant and leave large blank spaces. I hope your imagination
and creativity will be stimulated to fill them with ideas and realizations of
your own.
Have fun.
 WlSH LlST Of MANKlND

1. SURVIVAL

A. Individual
Basic instincts: to breathe, eat, drink, sleep.
Self-protection: immortality (glory), invulnerability (to illness or
weakness).
Quality: eternal youth.
Life after death.

B. Species
Sexual instinct.
Maternal instinct.
Paternal instinct.
Fertility.
Give and receive protection.
Care for the planet. Ecology.

2. POWER

A. Personal
Physical: strength, speed, skill, inexhaustible energy.
576
-Over earth and the cosmos: lightning, thunderstorms, hurricanes,
Mental: intelligence, memory, calculation, personal magnetism
capacity for observation.
' rainstorms, tsunamis, fire, volcanoes, stars, asteroids, comets.
· -Over physical laws: vision t~rough opaque objects, defeating
Communication: language, expressions, gestures, "mental" commu-
gravity, invisibility, creation or transformation of matter or
nication (transmitting and capturing), power of conviction, capacity
for rhetoric, written expression. energy, causing movement without touching (tele?nesis).

Transmission of power to others (spectators). -Over a solid, liquid.or gaseous state: passing from 04e to the other.
-Over dreams and possible or impossible wishes (magic).
Material, economic: private property, materials neetj_ed for survival.
Political: loyalty, knowledge, mentorship, leadership, guidance, cove-
nant, military power, strategy, public magnetism. 3. LOVE
Receiving love: from parents, from family, from lovers, from others.
Religious: guru, guide, aura, communication with the gods, powers,
Giving love: parent-child, fraternal, loving couple, to others (friends,
faith, consolation, prayers, petition for favors, miraculous powers.
groups in need). Empathy.
B. Control For nature: to animals.
Over others: Control of will, of affections, of behavior, over their life Union with another or others, with nature, cosmic union.
and death, being obeyed, being served. Eagerness of justice.
Over superhuman beings: genii, gods, demons, angels, "energies", the Worship.
Overcoming obstacles to love (from others or for others), disappear-
dead, zombies, the world beyond, heaven and hell, extraterrestrials.
Over objects: creation, animation, disappearance, multiplication, clon- ance of hatred toward us.
ing, change, miraculous transformation (base metals to gold, etc.). Recovery of lost love.
Fame, popularity, social appeal (being admired, respected, feared,
Over time: elasticity (making it longer or shorter), speed, back in
time, forward in time, ubiquity. obeyed, and followed).
Over space: miraculous translocation, journey, expansion of vol- Reunion of the four elements. Cosmic harmony.
ume, change of capacity, change of shape.
Over chance: in life and in games, fortune. 4. FREEDOM

Over the self: emotional stability, self-esteem, energy, vitality, exter- Escaping from bindings, chains, jails. Solving problems.
Escaping from conflicting situations: slavery, subjugation, submission
nal and internal beauty, kindness, spirituality, optimism, desires,
passions, dreams, emotions, ecstasy. ( changing or escaping).
Hyper-senses: sight (X-ray vision), hearing, touch, taste. Physical or psychological domination.
Over nature: Of choice. Power of decision.
-Over plants: fertility, growth, multiplication, genetic manipula- From destiny.
tion, improvement. From reason, from logic. Dionysus (escaping).
-Over animals: taming, saving the species, control of ferocity, Getting out of oneself.
venoms, bites, etc. No obligation to work.
 579
578

5. SAFETY AND JUSTICE

Music, theater, film, literature, painting, sculpture, magic.

Home: intimacy, privacy, property, harmony, order in chaos, control of
chance.
Protection of others, of the gods, of society. Integration in a social
group, cohesion.
Protection from rain, lightning, cold, heat, beasts.
Safety before the law.
Equality· before the law. Of presumption of innocence. Of opportuni- 8. KNOWLEDGE
ties. Equity. Right and capacity of defense (of the individual, of the
group, of the species).
Adventure in fiction (without danger).
Emotions.
Search for the essence, for the Platonic ideal.
Personal and spiritual development.
Mystery.
Wisdom. Philosophy. History. Science. Curiosity. Sure intuition. Inspi-
ration. Journeys. "Knowledge of the world. Reading. Acquaintance with
the thoughts of others. Foreseeing the future, the world beyond. Mystery.

6. GAMES, PLAY
Discovery. Invention. Infallibility. Total knowledge (heaven). Mental and

Amusement. Imitation. Avoiding boredom. intellectual gymnastics. Intuition. Clairvoyance.

Sports: winning, control of chance, exercise, training the muscles, intel-
ligence, resourcefulness. 9. PLEASURE, HAPPINESS
Adventure. Skill. Luck. Fortune. No pain. Serenity. Peace. Beatitude.
Protection of the gods. Competitiveness. Control of danger. Joy. Laughter. Internal and external smiles.
Celebration (see 9. Pleasure). Dionysus. Leisure: time for hobbies and rest.
Extreme sports. Emotions. Adrenaline rush (within safe limits). Appropriation.
Adventure in the unknown. Dionysus.
Art as a game. Paradise regained. Childhood recovered.
Disappearance of the bad and of evil itself.
7. BEAUTY, EXPRESSION, ART Happiness of others. Emotional resonance with their happiness.

Art. Experiencing artistic reality in fiction (without risk, with the capac- No boredom.
ity and freedom to get out of it): a game. Experiences. Life. Positive energy. Self-esteem.
Creation.
Expression of self, group, species.
Harmony and order.
Construction of the artistic plot.
Imitation.
Amusement. Peace of mind. Joy.
Rhythm. Artistic dance. Recreational dancing.
Beautiful ornaments.
 WlSHES AND THElR
CORRESPONDlNG TRlCKS

I repeat: this list-based on very personal criteria-is an invitation for the

reader to see if he feels like playing along. Maybe he will complete it or
modify it or apply whatever seems appropriate to him.

WISHES TRICKS MYTH/SYMBOL

1. SURVIVAL

A. Individual

i) Basic
~
instincts

Breathing Water tank. Buried alive. Pantagruel.

Production of food Multiplication of
(Gaetan Bloom). loaves and fishes.
Digestion of stones.
Fakirism.
 MYTWSYMBOL
Drinking Production of liquid. Wedding i) ,Sexual "Interlude" (Steinmeyer). Defloration.
Bowl. Magic bartender. feast at Cana. instinct "Arm through Body" Penetration.
"Multum in Reverse". Inexhaustible (cont.) (Goldin).
fountain. Pen through banknote. Penetration.
Sleeping Cigarette or cigar Phallus.
People: Hypnotic dream.
Hypnotized animals. production.
Catalepsy. Candle production. Phallus.
Cane production. Phallus.
Wand through Penetration.
ii) Self-
handkerchief.
protection
Sponge balls. Sensuality,
Immortality Bullet Catch. Jesus. Buddha. Eroticism.
Resurrection Decapitation. Sawing a Lazarus. Maternal instinct.
ii) Maternal, Production of rabbit and
Woman in Half. Cut and Apples of the other small animals.
paternal
Restored Rope. Gypsy Hesperides. Egg Bag. Creation of life,
instinct.
Thread. womb.
Fertility
Invulnerability Cremation. Sword Box, Fakirs. Egg on fan. Creation of life.
Spike Box. Fakirism. Production of a baby. Maternal instinct.
No illness or Controlled pulse. Healing. Production of tiny dice, Creation of life.
weakness Disappearing wound in Shamanism. tiny cards, tiny balls ...
thumb. Healing the blind. Sponge rabbits. Fertility.

iii) Quality Idea: transformation of a Eternal youth. 2:P0WER

youngster into an adult, Faust. A. Personal
or an old man into a i) Physical
youngster. "" Strength Light and Heavy Chest Samson.
iv) Life after (Robert-Houdin). Hercules.
Spirit Cabinet. Seance. Spiritism. Saints.
death Tearing a phonebook with
Heaven.
the bare hands.
B. Species
Body magnetism (fingers,
i) Sexual Penetration (cigarette Penetration. hands, arms, etc.).
instinct through coin). Speed Instant translocation. Achilles.
N
r-
~
~
584 585
t
('rj
~ WISHES TRICKS MYTH/SYMBOL \ WISHES TRICKS MYTWSYMBOL
~
~ Skill Gambling demonstrations. Thought transmission.
>-C'.)
z Expression, ....I

-< Juggling. gestures,

n
;:s
~ Flourishes with cards,
coins, balls ...
mime
Muscular Muscle reading.
rz
cd
Energy Controlled pulse. 0
Mental Tvvo-person telepathy. God~. ~
(tireless)
Thought transmission or
ii) Mental Order of all the cards in Borges: "Funes reception.
Memory the deck the Memorious".
Thirty-word test. Mnemosyne.
iv) Transmission Divination by the audi- Saints.
Phonebook
of power ence, Three Billets
Names of all the
(Tamariz style).
spectators.
Verbal magic.
The day of the week
Magnetism (in the style of
Intelligence Athena. Annie Abbott, who trans-
Calculation Pocket calculator (with a mitted the power to her
memorized deck). son).
Rapid calculation, magic v) Economic,
squares. material
Private They take something
Personal Hypnotism, magnetism, property and it comes back to you
magnetism suggestion. (Tommy Wonder: "Ring,
iii) Communi- Watch and Wallet").
cation Production of diamonds.
""'
Language Two-person telepathy. Echo. Necessary Fast growth of trees and
Ideas: Instant written goods (food) fruit.
translation, encrypting Disappearance Production of coins and
(speaking through a tube of debt credit cards.
and the listener receives it Production of banknotes.
in another language). Transformation of
 N 586
~
r-- 587
~
I' -< WISHES TRICKS
rr:l
~ MYTWSYMBOL' WISHES TRICKS MYTWSYMBOL
~
~ Disappearance bills into a higher >
CJ
;z: Control of their Suggestion, hypnotism. .....I

-<
~
of debt (cont.) denomination. behavior
(J

~ Idea: Disappearance of
mortgage or debt.
Being obeyed Hypnotism. Dictators
I
~
z
Being served (buaaah!). cd
vi)Political 0
Control of their Animal magnetism. ~
Knowledge "Wisdom" (patter for Oil body, senses, Pulse control.
and Water). muscles, pulse

Leadership, The dead Spiritism. Gods. Demons.

Follow the Leader.
guidance Genii. Spirits.
Suggestion, hypnotism.
Aliens. The dead.
Post-hypnotic commands.
Zombies. Energy.
vii) Religious
Ectoplasm.
Guru, spiritual "Saint Robert-Houdin". Moses. All spiri- Over objects and
guide. Many mental effects. tual gurus. living beings
Petition of
Creation Egg Bag (life). Creator gods.
favors.
Dove production. Flora.
Aura. Ecstasy. Levitation. Mystical The Shadow Box illusion.
Communi- symbols. Flower production.
cation
Animation Rising Cards. Jesus.
with the gods.
"El Cochecito"
Faith.
(Koomwinder Kar).
Transfigur-
Dancing Handkerchief
ation.
(Blackstone, Calvert).
B. Control: Zombie (Joe Karson),
Over other living Okito Floating Ball.
beings (humans,
Disappearance Of the deck, of animals, of
animals)
humans, etc.
Control of Prediction: "You will Multiplication Of balls, cigarettes, cards, Hom of Plenty.
their will choose what I want." candles, canes, etc.
N 588
r--
~
589
i
< WISHES TRICKS WISHES TRICKS MYTH/SYMBOL
r:,j

~ MYTH/SYMBOL \
~
~ Cloning "Doubled" dove. , Invisible Invisible trips of objects
>
C')
;z: --i
(")
<
;:5
Wild Card. translocation or people.
~
Inexhaustibility Six-Card Repeat. (cont.) ~
z
Continuous production of Expansion Bigger (gradually or Alice. c,j
0
balls, cigarettes ... suddenly).
~
Change, "Expanding Die" (Buatier
Of shape, size, color, Proteus.
transformation nature, people, animals, de Kolta).

objects ... Objects (giant coin).

Invisibility Contraction Smaller: tiny die. Alice.

Invisible thimble. Harry Potter.
OfTime Volume Lubor Fiedler's "Gozinta
Boxes".
Speed Stopping time (David
Car ( or closet) from
Berglas on TV).
which twenty people
Immediacy of trips.
emerge.
Instantaneous growth of
Production of little tables.
plants.
Of Chance
Back in time Hypnotic regression (to
(minutes, com- the womb). In life "The Good Fortune Fortune.
plete days or "Back in Time" with cards. Routine" (Mnemonica).
years)
Fortune, luck Bets.
Forward in time Predictions. Tiresias. Bank Night.
Headlines. Results of Nostradamus.
sporting or political Prophets. Cards: gambling
Betting games
events. ~
demonstration.
Ubiquity Everywhere and Nowhere. God. Dice and chance. Heads

Of Space or tails.

Invisible Lottery Lottery prediction. Bingo.

A vanished person Arabian tales.
translocation appears seated among the General luck Ton Onosaka's "Tonte". Fortune.
spectators. Seven Keys to Baldpate.
N 590
,--
~
~
591
1
tn
~ WISHES TRICKS TRICKS MYTH/SYMBOL
MYTH/SYMBOL WISHES ~
~ Of the Self
>
G)
z
~
-Animals
n
;::s Self-esteem Hypnotizing a chicken or Saint Francis of
~
Taming
~
Vitality rabbit. Assisi.
z
cd
Physical beauty Costume change. Change Apollo. Growth From small dog to big dog. 0
of appearance (Tina Production of baby chicks ~
Proliferation
Lenert). under cups.
Inner beauty
Preserving the
Kindness Saints, mystics. species
Saintliness
Endowment of Learned pig or horse. Mythological
Control of intelligence Munito (wise dog). animals.
appetite and and human Zeus and his
passions metamorphoses.
attributes
Ecstasy Levitations. Suspensions. Ventriloquism: the dog
Voice, speech
Rising Cards. that seems to talk
Control of Hypnotism. (Marc Metral).
dreams Aesop (fables).
Writing Gimmicked automata.
Hyper-senses
Calculation Calculating animals.
Sight X-ray vision. Blindfold Superman. Over the Earth
drive.
and Cosmos
Hearing Voices heard in a seance.
Control of Zeus.
Smell Handkerchief with the Prometheus.
lightning and
'It
smell of a named perfume. fire, storms,
Over Nature earthquakes,
-Plants tsunamis,
Fertility Growth of plants (yogis, typhoons
Flora.
Growth American Indians, Kellar, Rain, clouds Japanese water fountains. Mexican god
Multiplication Robert-Houdin's Orange of rain. The
Transformation Tree). Universal Flood.
 TRICKS MYTH/SYMBOL
Cold, heat Ball that heats up.
3. LOVE
Snow, ice, fog Japanese Snowstorm.
Receiving it Eros.,
Water to ice.
Giving it
Other planets, Okito Floating Ball. Jos.hua stopping Harmony Matrix: the four elements. Reunion of the
moon, sun
the sun and the Deck in order. four elements.
moon. Harmony.
Strange
Couples "Your Better Half' (Verbal Romeo and
phenomena
Magic). Silk ties. Juliet.
(rain of toads
' Parents and sons
etc.)
Others
Physical
Laws
Love of nature and Production of rabbit, Saint Francis of
animals plants, flowers, etc. Assisi.
Gravity Anti-gravity. Levitations Levitation of Recovery of lost love Card locations. Card Hera.
and suspensions. Inverted religious leaders translocations.
tray with glasses. Inverted yogis, mystics, '
Fame, popularity Triumph.
glasses full of liquid. etc.
Hindu Rope. ' 4. FREEDOM
Vision through All solid-through- Escape from ties Houdini, Randi, others. Hindu liberating
Superman. Virgin
opaque objects. solid effects. Great and chains Linking Rings. Ambitious gods.
Mary.
Walking through Wall of China (David Card. Predictions.
solid objects. Copperfield). Escapes. Water tank.
Light FISM flash (John Solution of problems Theseus and the
Cornelius). af\d conflicts Minotaur.

Invisibility Disappearances. Free will. Control of Hofzinser: "Sympathetic

the freedom of others Numbers".
Creation of Apparitions. Creator gods. (destiny)
matter
Escape from reason The Fool of the
Creation of Hot Ball, burning paper... Creator gods. and logic Tarot.
energy
Getting out of oneself Dionysus.
 N
,.... 594
~
~
~
WISHES TRICKS MYTH/SYMBOL
~ 5. Safety
z
~ Back home. "Homing Card". Card to The prodigal son.
,....,
;::$
Intimacy. Privacy. Wallet. Ulysses.
Protection Fakirism.
Group cohesion Group games.
Harmony and order "Mismade Lady". "Zig-zag
Girl". Triumph. "Shuffle-
Bored" (Aronson).
6. GAMES, PLAY All magic tricks The Joker,
(sleight-of-hand). Dionysus.
7. BEAUTY. ART All of magic. The Three
Graces. The
Muses.
8. KNOWLEDGE

Knowing. Curiosity. Mental tricks. Book tests. Gods. The Wise

Men. Gurus.
Mystery All of magic.
9. PLEASURE. All of magic. Heaven. Paradise
HAPPINESS regained.