elManuscrito EDITOR
Dani DaOrtiz SUB-EDITOR
Katja Engblom
[email protected] COLUMNISTS & COLLABORATORS
Salvador Sufrate Rafael Baltresca Pepe Monfort Helder Guimarães Miguel Gómez Luis Otero Biktor Chávez Lennart Green Juan Luis Rubiales Dani DaOrtiz TRANSLATORS
Martin Kaplan Raahul Srinivasan Álvaro Rojas Zamora PHOTOGRAPHS
Photographs, if have not reference by author, belong to Grupo Kaps. FRONT PAGE
Ana Sánchez
W
hat a joy to start a new issue! A warm welcome to the many friends who are joining us on this adventure through ElManuscrito. We welcome Miguel Gómez: One of the most representative figures of Spanish magic, who at last has arrived on these pages to do what he does best. Thanks Miguel for sharing with us! Welcome to what is, from now on, your home.
dor, Rafael, Pepe, Helder, Luis, Lennart, and Juan Luis, thanks for continuing to share interesting articles, tricks, ideas, techniques, theories, and philosophies. Contributions from those more knowledgeable make this new issue one in which to submerge yourself. This is where we continue learning about the beautiful art of magic. Friends, welcome to a new adventure.
I am finished the editing of this And of course, we welcome Biktor issue from the great library of my Chávez, who is letting us into his good friend William Kalush… mind and who will navigate us I wish you all joy filled studies! through a world of philosophies and good magic. An issue, without Dani DaOrtiz doubt, loaded with great contributions, friendships, and a mutual love of the world of magic. Salva-
PROOFREADING & ADVERTISING MANAGER
Christian Engblom
CONTENTS
SPONSORS
Card Up The Sleeve, Salvador Sufrate …...................… …...................… 736 Apparition of Aces, Salvador Sufrate ......................…… ......................…… 738 Sleeving Disappeara Disappearance, nce, Rafael Baltresca .............…… .............…… 738 Deconstructing Miguel Gómez, Pepe Monfort ............… ............… 743 Miguel Gómez: Timeless, Helder Guimaräes …..........… …..........… 747 Real Magic, Miguel Gómez .....................................…… .....................................…… 748 Double Undercut to bring a Card to the Top, M. Gómez ...752 False Cut in the Hands, Miguel Gómez ..................…… 753 To My Teacher, Arturo de Ascanio, Miguel Gómez .....… .....… 754 Double Divination, Miguel Gómez ..............................… ..............................… 756 ACAAN, Miguel Gómez ..........................................…… ..........................................…… 756 Card to Box, Luis Otero ...........................................…… ...........................................…… 758 Difficult Spectators, Biktor Chávez …..........................… …..........................… 760 Raiman I, II & III, Lennart Green ….............................… ….............................… 762 About a few Techniques, Juan Luis Rubiales …............. …............. 766 Han Ping Chien, Juan Luis Rubiales ….......................... ….......................... 766 The Click Pass, Juan Luis Rubiales …........................... 767 About the Thumb Palm, Juan Luis Rubiales …............... …............... 768 The Double Card, Dani DaOrtiz ................................….. ................................….. 770
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CARD MAGIC
Using The Fan Salvador Sufrate
SS736
I
remember when I was just a child in my home city “Pehuajó” (well known for the nursery rhyme “turtle Manuelita”), there was a magician named Victor Hugo Rossomano (who only did card magic). His small performances were on a local TV show, and almost always a child from the public accompanied him to play the part of the spectator. And “Who was this child?” Yes, Yes, ladies and gentlemen, the child was me! I believe that my love for card magic began at a t that moment. One of the tricks I remember reme mber most vividly, is that of the card repeatedly and inexplicably appearing in the sleeve of the magician. This trick was a possible inspiration for my technique. I want my move to help generate, in your spectators, a moment as magical as the one that occupies my memories today. This is, in reality, a description of a technique more than a trick. Clearly it is one with which you can do many effects. I will try to describe it in the context of a tiny routine.
Pic. 2
To begin, we ask a spectator to select a card and sign it. Then, we control the signed card to the top of the deck by your preferred method. I use the circular control or the fan pass, which I describe in my first lecture notes. With the selection on top of the deck, and the deck in dealing position, we push the top card to the left with the thumb of the left hand han d until it can be gripped by the right thumb th umb into Tenkai Tenkai palm. (See picture 1). 1 ). We now do a thumb fan (with the right thumb), maintaining the spectatorʼs card in Tenkai palm, until we reach the position shown in picture 2. In the same figure, we can see that the inner right corner of the card is already in the sleeve.
Pic. 1 7373 4 4
Once the corner of the card is introduced to the sleeve, we push it further with the thumb, until half the card is in the sleeve, as you can see in picture 3. Obviously, the fan should cover all of these movements.
Pic. 3
With a little practice in front of a mirror, you will find the most favorable position and the correct angle to invisibly load the card into the sleeve. When the card arrives at the position shown in picture 3, the thumb releases for a moment.
ling up your sleeve slowly, the spectators see, with great surprise, that their card is now, proverbially, “up the magicianʼs sleeve.” Note: If you use a long sleeved shirt (as shown in the pictures), you will see that in the act of pulling up the sleeve, the same action pulls up the card higher on the forearm, lending more to the impossibility of the effect.
Pic. 4
To continue, the right hand opens above the fan in preparation for closing it. In doing so, the thumb pushes the edge of the card into the sleeve until it is completely hidden, as you can see clearly in picture 4. I almost always use this technique while wearing a long-sleeved t-shirt, button down shirt, or a sweater, and Iʼve also done it with a jacket. To finish, you can have the deck shuffled, or you may leave it on the table. Show the hands empty, and ask the spectator what their card was. Just by pul73 5
Salvador Sufrate
SS738
T
he magician takes the deck in his hand and makes a fan. From it, the Aces start appearing out-jogged one by one.
Preparation
You need to have the Aces on top of the deck. Presentation
Pic. 1
Take the deck in the left hand dealing position and obtain a break under the four aces. Secretly, the left thumb pushes the four Aces back until they are injogged at least two centimeters (almost an inch), as shown in picture 1. Now the left hand fingers extend, while the sides of the thumb and index finger hold the deck. The right hand approaches, placing the thumb on top and the rest of the fingers on the bottom of the deck. Holding the deck in this position, the deck is flipped over to the left, leaving it face up as shown in picture 2.
Pic. 2
With the deck now face up, we do a spread in the hands (this is only done to misdirect, as itʼs a common thing we magicians do), and newly close the spread (remember this is done without drawing attention to it). Now the right hand takes the deck to turn it over once more, but this time weʼre going to turn the whole deck except the aces; to do this we grasp the deck with the right thumb at the lower right hand corner (on the short side of the deck), and the ring and middle finger at the upper short edge. Held in this manner, the deck is turned as shown in picture 3. Once turned, we are left in the position shown in picture 4. So now to continue, the right thumb rests over the left lower corner of the aces packet, and pushes them to the right, making them turn until they are perpendicular to the deck. To do this, the left hand fingers extend, a little, so as to let them through (picture 5, an exposed view).
Pic. 3
73 6
All this must be done during the movement to square the deck up (in picture 5 the right hand fingers are extended, but this is only so you can understand the mechanics; when performed, these must remain on the front edge of the deck, so as to provide cover for the sneaky move).
With the aces now perpendicular to the deck, do a fan with the right index finger, keeping the Aces hidden under it, as shown in picture 6. Now take the fan to the side of your body, nearly to a card manipulation position, with the backs of the cards facing the audience (picture 6).
Pic. 4
We are now ready to commence the apparition of the aces. To do this, the left hand fingers must be extended, except the middle finger which must be flexed, contacting the back of the aces with its tip (picture 7). To make the Aces appear one-by-one, we only have to release the pressure of the index and ring fingers a bit, while the middle finger extends pushing upwards, as shown in picture 8. This will cause the first Ace to rise out of the fan. Now simply repeate three more times.
Pic. 5
Pic. 6
Pic. 7
Pic. 8 73 7
TECNIQUE
1
I
have been doing magic with my sleeves for almost 8 years. One day, in front of a mirror, I found a very powerful and magical technique that Iʼll show below. I call it the frontal disappearance, and I hope you like it. Effect
You show a pen, momentarily hide it from view with the other hand, and upon opening the hands again, incomprehensibly, the pen has disappeared. Necessary Materials
- A pen, pencil, or other similar object. - A jacket, shirt or other long-sleeve garment (the sleeves donʼt have to be very wide.) Method
1 – Show the pen, as in photo 1. 2 – Hide the pen with the other hand, as in photo 2. 3 – While it is hidden, pivot the pen with the three fingers (thumb, index, and middle) until the pen is parallel to the arm, as in photos 3 and 4. 73 8
RB741
Rafael Baltresca
2
3
4 – With the first finger, launch the pen into your sleeve. 5 – Conclude by showing the two hands empty, as shown in photo 5. Important
In photo 3, while you pivot the pen, twist the right arm, so the right palm faces more toward the floor. This opens the sleeve and forms a gap between the sleeve and the arm. (A small gap is sufficient). Never bend the wrist to sleeve the pen. This error is very common, but as you practice, it will be easy to prevent yourself from bending the wrist.
4
At step 4, you must consciously train with the end goal that no part of the pen will be visible once you open your hands. If, at the end you roll up your sleeves, the pen will be pinned tight, so you can continue with another routine. To recover the pen, lower your arms… and read the next issue of ElManuscrito. 5 73 9
On The Front Page
z e h c n á S a n A y b o t o h P
Miguel Gómez 74 0
Photo on the left: Miguel with Herb Zarrow. Photo on the right: Ricky Jay (left) Miguel (middle) and Juan Tamariz (right).
Pepe Monfort
A
few minutes after sitting down to write this article about Miguel Gomezʼs life in magic, I gave up. I tried to do it by listing some of his awards, like the Ascanio Prize for the Best Magician of the Year in 1987, which he won again some ten years later. But, in truth, although it is important information I donʼt think such a list is necessary in order to recount the trajectory of a magician. A prize is simply an ornament that you pick up along the way. Next, I gave some thought to writing about his participation in the exclusive card gatherings that take place worldwide. I could mention the 4F convention in Buffalo, the gatherings in New York, Las Jornadas de El Escorial and La Barranca [1]. I also thought it could be interesting to talk about his appearances on many of the important television programs here in Spain. The list includes Magia Potagia, Chan-Ta-Ta-Chan and Nada X Aquí, but upon reflection I wondered if that would help to explain the excellence that Miguel Gómez has achieved in the Art of Magic. The answer was a resounding “no” because all these things are a logical consequence of him being the magician that he is and it tell us nothing about the road he traveled to become that magician.
Undertaking this task is a heavy responsibility and there is somebody who could do it better than I, so excuse my boldness as I get off the track. That afternoon in Vallecas, Carmen Linares, accompanied by Pepe Habichuela on guitar, sang and talked passionately about her teachers and about her good fortune to be able to share with them a life dedicated to expressing her emotions through flamenco. Miguel Gómez listened to her transfixed, seated next to Gabriel Moreno who had invited him to the performance. Thanks to Carmen Linares and her stories about great artists who were unknown to him, Miguel Gómez learned to appreciate and value flamenco, but that was not the only thing that happened that day. The emotions he experienced that afternoon became the source of inspiration for his show “The Anthology of Spanish Card Magic”. In it, just like Carmen Linares, he shares with us the emotion and the pride of being not a singer, but rather a magician. While he delights us with his miracles, he reveals to us the intimate details of his magic life. I can think of no better way of getting to know Miguel Gómez and his life in magic than to savor the information he 74 1
reveals in his masterful magic presentation, which is, for all intents and purposes, a selfportrait. So, let us let him tell us all about Miguel Gómez.
Faro Shuffle. It is not a question of taking a useless risk. He does it to cause a er Klause slight dilation M iguel w i t h Rog of his pupils, a change in his breathing pattern just subtle enough for the spectators to notice a slight rise in adrenalin that will give the spectacle a greater emotional charge. In this way he succeeds in reviving those hours spent with other masters of his craft like Pepe Carroll, Juan Tamariz, Gabriel Moreno, Arturo de Ascanio and others where they tackled the most exacting technical challenges. Those get-togethers, fueled by an almost uncontrollable fervor, left a lasting impression on the magic of Miguel Gómez.
As the 1960ʼs came to a close a wide-eyed Miguel would frequently watch a program called Las Manos Mágicas (The Magic Hands), which was broadcast by TVE (Televisión Española). While he was watching simple magic tricks demonstrated and explained, other magicians both in Spain and abroad were assiduously perfecting techniques and constructing marvelous routines with cards. In this way they established an invaluable foundation that would well serve future generations of cardicians. It is on this foundation that Miguel Gomezʼs magic is built and his show begins at this point in time. His first effect is The Universal Card, his version of a three-card routine created by Pablo Domenech. While watching this pure and beautiful routine, one can sense the tradition instilled by card masters of the past who In his magic one can see the clear imprint of have served as his teachers and to whom the Arturo de Ascanio who was a driving force at Art of Magic is indebted. those meetings. As Miguel says, “It is magic that penetrates our eyes and brain and At the conclusion of The Universal Card the in- reaches our heart.” He never tires of saying fluence of his magic forbearers becomes all the that “the external beauty of magic exists only more evident as he performs El Sueño de 7 in the presence of internal beauty”. The magic Años (The 7 Year Dream), his very personal in- of Ascanio is the perfect confluence of inner terpretation of Luis Garcíaʼs Rito de Iniciación and outer beauty. Ascanio had a major impact (Rite of Initiation). This spectacular effect on the magicians of his generation by giving clearly demonstrates several of the character- shape and form to ideas and concepts. He took istics of Spanish card magic of which Gómez the technical aspects of card magic to a new is one of its most notable proponents. He pays dimension and he made Miguel see that magic attention to the subtlest details when construct- was a profound and marvelous art. The influing an effect. He has the ability to envision a ence of Arturo appears with the next effect in different presentation for a trick without losing the program, Empalme Invisible (The Invisible its classic essence or its symbolic conception. Palm), his version of Larry Jenningsʼ Open This flood of ideas and concepts clearly Travellers. Miguel is sure that this effect given pointed out the way in which he and his magic its construction, beauty and handling would were to evolve. have delighted Arturo. Miguel begins El Sueño de 7 Años in ritual fashion. He unseals the case of a Fournier 505 deck—the brand he always uses. He takes out the brand new deck knowing nothing about its condition and he studies it just like a bullfighter does when the bull he is about to fight bursts into the ring. He not only takes the risk of using a new deck, but he doubles down by doing several perfect Riffle Shuffles eschewing the 74 2
In the early 90ʼs, at the urging of Juan Tamariz, Gómez travels to the United States. While doing magic for a friend at a convention he notices that he is drawing a large crowd of magicians who are watching his every move. He comes to realize that all the time, effort and passion that have gone into creating Spanish card magic have elevated it to a higher plain. Our fellow magicians from other countries un-
Le ft t o r ig h t : J ua n T a ma r iz , C on s u e l o Lo rg i a , J ac o b o La ud M ig u e a l , M an , u V er a a nd Al an M ar ch e s e .
Miguel on his show "Anthology of Spanish card magic"
derstand that a Spanish magician with a deck in his hands is a guarantee that they are going to see something special. Miguel feels proud when he realizes in such a direct way that Spanish card magic has achieved prestige worldwide.
simple effect, but, in this case, appearances are deceiving. Miguel Gómez feels fortunate to be part of a world where he can create so many unforgettable moments with a deck of cards. That was his goal when he included the next piece in his show, Los Reyes Cazadores (The Royal Hunters). His brother in magic, Armando Gómez, taught him this effect. Performing the effect brings to mind past meetings with magician friends where you unplug from your daily cares, catch up with other magicians to talk about magic and show what you have come up with since the previous get-together.
Shortly thereafter Bill Kalush arranges a meet-up in New York of a select group of outstanding card magicians from all over the world. Miguel travels to the event along with Rafael Benatar. It is there that he performs the effect Viaje a Nueva York (Trip to New York), which is his version of Cards Across. In his show it comes directly after Empalme Invisible. It is an effect that is characterized by the naturalness of his technique that he combines After Los Reyes Cazadores Miguel with a complex internal structure. picks up the deck in preparation for On the surface, it appears to be a his version of Pepe Carrollʼs Suit
Apparition. This effect, Aparición de Palo (Suit Appearance) is an homage to the magician he regards as the creator of the most beautiful magic compositions in the last third of the 20th century. Miguel spent a lot of time creating his version of this effect. Since it was Pepe Carrollʼs signature piece, he wanted to do a different version and so he started with Ricky Jayʼs original version and combined it with elements of Pepeʼs version, resulting in a startling staccato of magic moments. After Aparición del Palo we get to see him perform one of the most impossible effects in magic, his version of ACAAN. It is a tribute to Juan Tamariz who is yet another of his teachers. Of Tamariz, Gómez says that magicians will always 74 3
. e z u el G óm a nd M ig n is t a r, P er ci D iá co a Le ft : R af a el B en . n s ta ge g o o i n g f o r e be e r , n d o y W m m l at e To l wi th R ig ht : M ig ue
owe him a huge debt of gratitude because “Juanʼs ability and his personality are responsible for the incredible growth in the number of both amateur and professional magicians. More than anyone else he has helped lay audiences realize that magic, when performed well, is an art.” He has chosen ACAAN because Tamariz has taught all magicians that the most impossible miracles are within reach and this effect is a good example of that. For the next effect we are magically transported to the south of Spain and the joy, passion and enchantment of that region take center stage in an effect called OUIJA. The influence of several Andalusian magicians is evident in Miguelʼs treatment of what we call The Haunted Deck. It is an example of the application of his theory of Acciones de Magia Real (Real Magic Actions). It is also a tip of the hat to flamenco, which was the inspiration for this show.
magic. As a spectator, it is a delight to enjoy the many effects that comprise this trick. They are all very visual, easy to follow and, above all, extremely magical. For a magician this effect is a touchstone and a model that merits study because of its careful internal construction, its naturalness of technique, the subtle presentation that accompanies it, and the magical impact it delivers. It is a master class in how to turn a magic effect into a work of art.
From the intimacy of Momentos Especiales we proceed to the final effect, which is a magical tour de force. It involves predictions, transformations, appearances, transpositions, penetrations and the like. It is a multi-orgasmic routine in which Spanish card magic continues to grow and Miguel Gómez gives his all. It is called La Rutina evolve by seeking out new paths. One of these de San Sebastián (The San Sebastian Routine) paths has been trail blazed by Spanish magician and it brings down the curtain on his show. Gabi Pareras with his concept of Fictional Magic. Elements of this concept are present in Miguelʼs A spectator leaves the theater having enjoyed a presentation of Roy Waltonʼs Time Machine and great magic show. That is to be expected. However, the show achieves another objective for Hofzinserʼs Sympathetic Numbers. both magician and layman alike. A magician who By deconstructing Miguel Gómez we have been attends Miguelʼs show leaves the theater underable to see the many events, elements and peo- standing that it is possible for a magician to ple that have directly and indirectly guided him on achieve magic of such external beauty only when his magical journey. The high point of his journey there lies hidden within a life filled with friends, would have to be an effect that he calls Momen- teachers and experiences that are as beautiful as tos Especiales (Special Moments), which, in my the one he has and has had. A layman leaves the opinion, is one of the most beautiful joys of card show with the same feeling that Miguel Gómez 74 4
Up: Kar im , Nacho , Diago, H el der, Kik o Pastur, M iguel Pu ga , Gabi. D own: Mi ki , Miguel, Armando Gómez, M iguel Ajo and Ana.
had that afternoon long ago in Vallecas when he lis- [1] These are two invitation-only events that take place annually tened to Carmen Linares – captivated by a new world outside of Madrid. Las Jornadas Cartomágicas del Escorial in November and La Barranca in June. filled with interesting people dedicated to expressing their feelings through an art… the art of magic.
Helder Guimarães
W
here to begin? Thatʼs always the problem when you write about someone from whom you have learned so much. All the memories you have of that person fuse together to create a picture of an individual that is not subject to the vagaries of time. Miguel is timeless, just like his magic. There are few people in my magic life whose creations will still be in vogue one hundred years from now and Miguel is one of that select group.
Right there and then I learned a great deal about simplicity in magic. Although his technique is ultra-advanced, there is an element of simplicity about his work. I remember a video of a young Miguel Gómez doing an effect with his signature red Fournier 505 deck and three glasses. I donʼt remember the year or how old I was. What struck me most about that effect was its construction. That Joker was literally everywhere! That effect was the inspiration for an effect that I did in a competition a number of years ago. What beautiful magic. I learned how to perform a rather complex magic effect in a simple way. The little details are the most important and Miguel knows that.
I remember the first time I met Miguel. He was in Sintra (City in Portugal) getting ready for that Encuentro Mágico (Magic Get-Together). I donʼt remember the year or how old I was. However, I will never forget the first time that I saw him pick up a deck of red Fournier 505 cards to perform Ralph Hullʼs Optical Shuffle. While doing it, he said, “Fred Kaps used this a lot.” I remember a dinner where, for the first time, Miguel
74 5
THEORY ARTICLE
showed me his version of Card Across. That effect has become one of my favorites. His palming ability made me smile because I did not see anything that resembled a palm. What really tickled me was, after showing me that magnificent effect, he said, “I am still working on it.” What? How could that be? I thought it was already perfect. It was then I learned that, even if you do not think so, there are elements of an effect that can always be improved. Miguel knows that. Once during a clandestine visit to the SEI (Sociedad Española de Ilusionosmo) he showed me his version of Larry Jennings' Open Travelers. I flipped when I saw the final reveal. I donʼt remember if it was the magic, the technique or the structure that drove me crazy with delight. I donʼt remember the year, but I do remember how he solved the problem of making the last card invisible. That was the day I learned that ideas are always more important than your technical expertise with a deck. Miguel has those ideas. I remember seeing Miguel perform at the close-up gala at the Spanish National Convention in San Sebastián. He opened the show, but he should have closed it. It was there that I learned that oneʼs technical level and oneʼs performance level are two distinctly different animals, but the two together are necessary to create a true magical atmosphere. Miguel knows that. What Miguel doesnʼt know is that the best thing that he ever did for me was to appear on Portuguese television doing his version of Dai Vernonʼs Travelers. That was when that effect became the favorite effect in a certain boyʼs magic repertoire. That event led to the boy seeking out his own place in magic and, in the process, enjoying more happiness and pleasure than he could have ever imagined. Miguelʼs appearance that day changed somebodyʼs life and I am that somebody. They say that the best things in life are those we miss when we no longer have them. However, I know that, in some form or another, all of my memories of Miguel are present in my magic. For that reason, along with all my respect, admiration and timeless thanks, I say in my loudest voice, “Thank you, Maestro!” 74 6
A
number of years ago, when my friend Oriol asked me to give a talk to the SEI (Sociedad Española de Ilusionismo) of Barcelona, I did a theoretical a presentation that focused on how to construct an effect. I tried to emulate Ascanioʼs lectures, which I still think are the best. The time I spent developing my talk was enriching and I filled my notebook with notes that, in turn, helped me prepare my script. I repeated my lecture in Madrid. However, in both cases I was a bit disheartened when I finished my talk. Maybe it was because I didnʼt know how to give clear explanations or perhaps because people donʼt care too much for lectures that focus on theory. For that reason I stopped working on the topic. One of the few good things that came out of that lecture in Madrid was Ascanio congratulating me and saying that it was the best lecture that he had seen in years. Consequently, every Monday at our meetings of the SEI in Madrid we kept exchanging ideas and I, in the process, continued to learn from the master. Several circumstances have caused me to revisit those notes and revise them somewhat. A prime motivator was the fact that when I studied Tommy Wonderʼs books I noted that he discussed many of the concepts that I had explained in my lecture. It all began when I tried to solve a problem. One fine day I said to myself, “Starting today I am
Real Magic
Actions Miguel Gómez
going to revisit all my effects applying the theories of Ascanio, Vernon, Ramsay, Tamariz and others. I began the task by starting with Daryl Martínezʼs Jacks Assembly that was very popular at that time. I spent a lot of time justifying each movement, as well as all actions in transit. I applied theories regarding false solutions, the gaze, the voice, the position of the feet, and even the placement of cards on the closeup pad to achieve the proper aesthetic layout. I rehearsed the routine until it became second nature. Proud of my work, I performed the effect for an audience and it received a lukewarm reception. I improved the presentation and that improved the reaction a bit. I decided to videotape my performance. When I saw it, I sank into the depths of despair. How boring! Too much senseless chatter! However, if I pared down the amount of patter then the moves would not be justified. Do all those theories not apply? Maybe I misunderstood them. What had I done wrong? Maybe I needed to resort to the eternal solution of adding more jokes. Of course that would mean losing
some of the magical impact. I began to review the books of Nelms, Ammar and others that speak to the issue of presentation and magical impact and the truth is that their ideas are very useful for simple and direct effects, but for a routine that was complex in both construction and technique they did not serve my purpose. I was looking for a solution that would allow me to marry the outer life of an effect with a complex inner life affording me the ability to use a series of sleights without which I could not perform the effect in question. Assuming that the theories were correct, I needed to find a method that would allow me to apply them correctly without changing either the magic effect or my style. Suddenly I saw the light. If what really matters is the final result, i.e. what the public sees, why not start the construction of an effect with the final result and reverse engineer the method? This then is the first step in constructing what I call Actions of Real Magic.
To begin to define the Actions of Real Magic I consulted the classics to extract all that I could about the outer life of an effect. In Ascanioʼs article about the conception of the magical atmosphere I found my point of departure. He says that the effect itself is the first time the public realizes that something strange is happening. Michael Ammar talks about making effects look like real magic; Vernon talks about naturalness; Nelms about meaning; Tamariz about false solutions and the five points in magic; and Robert-Houdin says we need to be actors. In addition to all that my performance needs to be attractive, interesting, entertaining, rhythmic so that the audience follows all that I do with great interest. For me, Real Magic Actions are the fewest movements needed to realize an effect so that it looks like real magic. However, since we are working for an audience we have to take into account the rhythm and the scenic communication that condition our movements. That is to say that our movements are different if we 74 7
are performing an effect in a close-up setting, on stage, or on TV. Additionally, since the audience knows that we are not real magicians, you need to take into account psychological deceptions, false solutions and conditioned naturalness.
When the mise-en-scène is more or less to your liking and you know that you are on your way to satisfying the premises of SED then you have your RMA which will the foundation on which to build your effect. Do not be too demanding at the outset lest you make no progress. Artistic perfection is Real Magic Actions (RMAʼs) are the minimum achieved only after years of practice and performmovements necessary – including words and ges- ance. tures – that a real magician would use to perform an effect with a maximum amount of the following: I need to clarify something. The RMAʼs are basispectacularity (communication, rhythm, and stage cally what Ascanio calls the outer life of an effect, movement); effectiveness (impact, the magic mo- but for my purposes I have changed the concept a ment, pauses, and other enhancements); and de- bit. I wanted to remove “responsibilities” from the ception (inability to reconstruct the effect, false definition of outer life and deal with “responsibilisolutions, clarity and natural movements). I call ties” as part of the inner life of an effect. So when these three premises of Real Magic Actions SED. creating Real Magical Actions I only need to think You may ask, “Hasnʼt this always been our goal as about Spectacularity, Effectiveness and Design, magicians”? It has always been our objective, but without worrying about secret movements. it has never been a method for constructing an effect. Now comes the important point. Study your video. That will allow you to see if your RMAʼs are well Since RMAʼs should be the starting point for de- constructed. There are a number of foci that will signing an effect, you have to envision how you grab your attention. However there are a number want all the elements of your presentation to be. of elements that want to remain hidden from your You must imagine the ideal situation without resort- view and you need to uncover them by repeated ing to secret moves and the audience must thor- viewings of the video. These hard-to-see elements oughly enjoy what you do. Do this using your own are the very key to real magical actions. personality. In this way you develop a preliminary script for what you are going to do for your spec- The secret of deception lies within these key or tators. necessary actions because they are not the actions needed to cover our secret movements. They This preliminary script must contain all the neces- are the actions that are needed to perform our sary elements for the mise-en-scène – patter, Real Magic Actions, which the audience needs in music, cards, cups, wand, costume, lights, etc. De- order to enjoy and understand our magic. It is sign the effect for the venue in which you will per- within the real magic actions that we can hide form be it theater, TV, a close-up table, or a those elements of the inner life of the effect. Is competition. Rehearsals should focus on the there anything more deceptive than the misdirecvenue in which you will be working. Try and repro- tion that arises from performing a natural action? duce the conditions of that venue as much as is Ascanio defined these movements as Actions in possible. Rehearse until everything flows and Transit. there are no hesitations on your part. Maintain your spontaneity, your personality and your natural- In analyzing Real Magic Actions I have made sevness. eral discoveries regarding cover for our actions. These involve misdirection, timing and the elimiRecord your performance or perform it in front of nation of redundancies. I plan to address these a knowledgeable audience whom you can trust topics in a future article. and who can envision the effects that you are supposedly doing. Do you or do they like the end result? Have you removed all the unnecessary elements? Are you fulfilling the premises of Spectacularity, Effectiveness and Deception (SED)?
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CARD MAGIC
VideoRef: MG752
Double Undercut to bring a Card to the Top "The pass I’d do to Dai Vernon”
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ne always wants to come up with something that ends up as a classic among magicians; something easy and very useful. I think this technique meets those requirements, and I for one, since I came up with it, use it constantly.
Miguel Gómez
Chronicles : “Raising cards by a Double Undercut is a
problem that always disturbs magicians”. Here I describe the technique: By means of a buckle, or any other technique, get a break above the bottom card or cards you wish to cut to the top.
Since Dai Vernon came up with the Double Undercut, thereʼs no more practical method to bring cards to the bottom without mixing the rest of the deck; but, it wasnʼt solved adequately so as to bring cards to the top without changing the way you cut.
This break is held by having the deck in the left hand in dealing position, and the tip of the left index finger holding it at the top right corner; thus covering with this finger the whole edge of the cards. At the same time we push with the middle finger upwards so that the break remains solely at the corner (Picture 1 is an When we do Vernonʼs “Cutting to the Aces”, those of exposed view, before the middle finger applies presus who are a bit picky on the technical construction of sure upward). a trick, get an itch when we have to lose the last Ace (you may find it silly, but it was one of the reasons I The right hand takes a hold of the deck in the normal didnʼt do this trick). Dai Vernon also says in the book way (biddle grip), but holding the right edge of the right top-corner with the pinkie, and the thumb in the opposite diagonal.
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When the left hand is going to do the Undercut, grasp the upper half of the deck with the right thumb without letting go of the break that is being held by the index and middle left finger. Move the left hand packet above the one thatʼs left in the right hand (as in the normal Double Undercut), but position it slightly out jogged (Picture 2). Now you can, when you square the deck, easily transfer the break from the left index finger to any of the other left fingers (to the middle left finger in front of the right pinkie, or to the left ring and
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MG753
pinkie behind the right pinkie) and from there, if you want, to the right thumb along the inside edge of the deck (Picture 3). You can then continue with the double cut and thereby have accoplished the transfer of the bottoms cards to the top.
using it in biddle techniques… since Iʼve been doing this technique I can do “Cutting to the Aces” without having to turn my head when I lose the fourth Ace, just in case Master Ascanio is watching (I now have a greater magical peace of mind)."
Youʼll find that this “new break” of the left index, and the cover with the middle finger, allows you to maintain a separation of a few cards at the bottom with only one hand, without it being seen at any angle; thus also allowing a clear double-lift at the bottom,
� False Cut in the Hands Miguel Gómez
I
n the above text I gave my solution for moving cards from the bottom to the top by means of a double cut, where the main advantage is that it doesnʼt change externally from the way cards are usually controlled from the top to the bottom, thus allowing uniformity of action (as Erdnase would say) throughout a trick like Dai Vernonʼs “Cutting to the Aces”, where Aces are lost by means of a double cut. In that text I explained a new break with the left index finger, necessary to do this technique, that complementary to being angleproof, has lots of uses such as pulling out doubles from under the deck without having to turn the latter over previously, nor having to change the grip.
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Following this line of thought, that is, uniformity of action, Iʼve tried to solve a need I had and, as Iʼve seen, many other magicians have: the false cut in the hands. When we need to do a false cut and then carry on doing something with the deck held in the hands, it doesnʼt make much sense to seek help from the table (unless the spectator is the one cutting), especially if we are working standing up. Some time ago James Lewis explained to me a false cut in the hands (I think it was by Larry Jennings) that is great and Iʼve used a lot, but it requires changing to a Hindu shuffle grip, which isnʼt always comfortable. Iʼve observed that when the majority of magicians do a real cut in the hands, nearly unconsciously that always do the same: a swing cut. Itʼs normal because it has all the ingredients of a convincing cut, namely: - The deck is seen evidently separated in two halves (and only two) which is what everyone understands as a cut.
elegance that makes it perfectly normal to an audienceʼs eyes. - Also, from the point of view of a magician, itʼs a natural action provided it may hide other techniques like the false cut supported by the table, retaining bottom cards…, and also for the false cut in the hands that Iʼm about to explain: The deck is face down in Mechanics Grip in the left hand. The right hand takes the deck in Biddle position, and the right index finger swings the top half to the left, thus initiating the cut (just like the normal swing cut), as shown in Picture 1.
The left hand goes to pinch the top packet with the side of the thumb (as in the usual cut), but now two movements happen at the same time: 1) The fingers of the right hand (except the index) keep hold of the top packet, causing the upper packet to tilt 45 degrees up from its right edge (this will give - The separation of the top pack is done at the front the impression that the packet really came from unof the deck, where no breaks or marks have been derneath), as shown in Picture 2. seen. 2) The side of the left thumb now slides off the top - When finishing the cut, the pack held by the right packet and pinches the bottom packet, grasping it. To hand goes on top (and not below), which is the com- retain the lower packet itʼs useful to use the rest of the mon thing in a cut. Also, the end of the cut allows for left fingers (Picture 3). an audible hit of the top packet with the bottom one, a sound that (louder or softer depending on the style) The created effect is similar to the table cut by Erdmarks the ending of the cut and itʼs registry in the nase. End the cut by placing the right hand packet on memory. top of the left hand packet (Picture 4). - Even though itʼs not the usual cutting method for a This fools even magicians, and I can assure you, that layman, it has a perfect mix between naturalness and ever since I came up with this false cut in the hands,
To My Teacher, Arturo de Ascanio Miguel Gómez
I
n April of 1966 I was asked to write some words about Ascanio for a magazine being put together by several Portuguese magicians. It was intended as a tribute to Ascanio. The magazine did not appear back then and, to be honest, I do not know if it has ever seen the light of day. 75 2
Arturo, since I am sure that wherever you are you will see these words; I want to reproduce that article here wishing that you had been able to see it when you were alive. My intent is to give you my eternal thanks. “I feel inordinately happy every time I am asked to
participate in any event that has to do with the figure of Arturo de Ascanio. It assures me that I am on the correct path for fulfilling my mission as a student. I see my mission as one in which I transmit and propagate to others his philosophy and, above all, his persona. Every moment that I share with Arturo turns out to be an important moment in my magic life. I can recall almost every detail of our encounters.
M i g ue l G om ez w i t h h i s s on , a l on g w i t h A r t ur o d e A s c an i o
I remember when I saw his lecture on The Psychology of Palming at the Spanish National Magic Convention, held in Santander. It had such an impact on me that I spent several days thinking about what he had said and I wondered aloud if perhaps I had chosen the wrong pastime. It seemed that the intellectual nature of his ideas had nothing to do with what for me was a hobby. I was mistaken. That was the moment when magic became my passion. Arturo succeeded in showing me that magic was very important and that it went beyond handling playing cards. I learned that magic was an art that has more to do with the heart when performed and more to do with the brain when conceived and designed. For me what is important about Arturo has nothing to do with the marvelous way he performs magic, or his way of thinking, or his books, or his lectures. What matters most is his persona and his ability to transmit to others his love for magic and he does this every time he performs or speaks or just looks at you. It is a true love the he is willing to defend to the utmost, especially if someone mistreats it. Being the gentle soul that he is, using his advice and knowledge he will guide the offender onto the correct path. He does this to make sure that his beloved magic is safe on its pedestal.
on a strong, well thought-out foundation. That is precisely what Arturo teaches us. Whenever I travel to the United States and magicians there realize I am one of Ascanioʼs students, suddenly all doors are open to me and I can detect a special admiration for what I do. This proves that although Arturo has published very little in English, his knowledge and prestige are valued worldwide. What a luxury it is for us Spaniards to have Arturo among us. Many gratifying things have happened to me during my life in magic, but only some of them will be remembered forever and the majority of those have to do with Arturo. These are some of them: being awarded the Ascanio Prize; being mentioned every time Arturo explains his effect La Dama Inquieta (The Restless Lady); and having him dedicate a chapter of his masterpiece, The Magic of Ascanio to me. I will be eternally grateful for that.
Arturo, my purpose here is to thank you again and to do so with all the admiration, respect and affection that a son feels for his father. In truth, although you are not my biological father, you are my magic father. Although I am not the best writer in the world, I want you to know that everything written here has come diThere are those who think that Ascanioʼs concept of rectly from my heart. Thank you!” magic is magic for magicians and that it is neither practical nor commercial. There is nothing further from the truth. When you analyze an effect that appeals to a lay audience, that holds their interest and has a great magical impact, you realize that it is constructed 75 3
CARD MAGIC
Two Effects based on
Dr. Jacob Daley ideas Miguel Gómez
Double Divination
T
he spectator shuffles the deck and selects two face-down cards. Ask him to hand one of them to you and you both look at your cards. They are then clearly lost in the deck. Now the spectator freely cuts wherever he wants and, exactly there, starts removing cards one by one from atop both piles. At a certain moment, the magician says “STOP!” and the cards that are about to be separated are exactly the chosen ones (previously named). METHOD
The spectator shuffles (make this clear). Once the cards have been pulled out, look at yours and forget it. Turn the deck face-down, and while the spectator shows their card, secretly pinkie-count 9 cards (for example) from the top, and hold the break with the right pinkie (Erdnase). Now dribble cards on the table and ask to be stopped wherever they like, where you place your card, no matter where. Continue dribbling cards and stop at the break, placing the spectatorʼs card at the 10th position. Crimp the bottom card of the
deck and ask for the deck to be cut several times. You will make the last of the cuts, cutting to the crimp, so that the selected card is again the 10th from the top. Announce that now comes the important cut; take the deck in your left hand and offer it to the spectator so he cuts wherever he wants (more or less at the middle) and then leaves his cut packet on the table. At that moment, still holding on to your half of the deck, ask: “What have we done up to now?”. While the spectator thinks back, secretly count 10 cards and peek that card when you leave the packet on the table next to the other one. Now say: “Iʼm going to try that my card, the ʻWhateverʼ (the one youʼve peeked), matches yours” (Make them say theirs). This is the fundamental difference with Daleyʼs method, where you canʼt name the cards previously. You can do the ending as you wish, as both cards will be in the 10th position.
ACAAN (Any Card At Any Number)
T
he spectator shuffles the deck, selecting a card which is then newly lost. Then a number between 10 and 20 is asked, and without touching the cards on the table, the selected card is at the said number. METHOD
The spectator shuffles and selects a card. As he is showing it, secretly count 16 cards, crimp the 16th holding a break (you could have this set-up before starting, but you couldnʼt then hand the deck out to be shuffled; or you could hand out packets for the spectators to shuffle, one of them having 16 cards, and when reconstructing the deck, place it on top). Have the card returned to the 17th position (under the crimp). Place the deck on the table with the crimp facing you. Ask for a number between 10 and 20 and, according to Daley, 4 out of 10 times they will say 17 or 16, when the solution will be straightforward. But the rest of the solutions he gives donʼt seem very convincing. 75 4
Luis Trueba showed me an idea that Alberto Reyes told him, where the effect is perfectly finished. Letʼs view the different scenarios depending on the chosen number: - 17 – The spectator counts. - 16 – The spectator removes 16 and the next is the chosen card. - Lower than 16 – The magician cuts at the 17th (one more than the crimp), and holds them in the left hand; and as if counting the cards by their weight, he removes cards from top until he is left with the selected number in his hands. Give the packet to the spectator, so that he verifies what you have done by counting them one by one on the table: the last one in his hands will be the chosen card. - Higher than 17 – The same as before, but this time adding cards from the deck to the packet. Iʼve done this trick many times in public and the effect is outstanding.
CARD MAGIC
Card to
B ox C
ard to Box is a classic effect in card magic with thousands of versions, some more convincing than others, but all are potent. There are two basic types of box loading techniques: those that are far before the revelation of the effect and those that are done near the moment of the climax. My technique is in the second category. This technique is done under fire, which makes it more delicate. The main strength of this technique is that it seems impossible to have loaded the box, given the manner in which the cards are held. Well, without further ado, lets go:
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Now, we can utilize whichever method we prefer to have a card selected and controlled to the top. I simply search for a named card. If you use a memorized deck, itʼs even easier. In this moment, we have an “X” card in the box and the selected card on top of the face down deck. Take the deck in the right hand and the box in the left, as before. At this moment, I shake the box, so they can hear the card inside. I “repeat” the same actions from previously opening the box, but I really do the following: the left hand holds the box vertically (long side parallel to the floor), so it will cover the pivoted card from the view of the audience. The first finger of the right hand pivots the
Technique
We begin by holding the deck by the short edges in the right hand and the box in the left hand by the long edges, with the opening of the box facing down. Now we are going to open the flap of the box with the right first finger; see photos 1 and 2. This movement is to condition the spectators for the actual load in a moment. We will place the deck on the table, take a random card, and without showing it, place it in the box. We now close the box and lay it to the side, opening down. 75 6
Luis Otero
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chosen card until itʼs behind the box, photo 3. The left fingers take the card, pressing it square against the inner face of the case. Simultaneously rotate the case to a horizontal position, keeping the card as squared as possible. The right index finger now opens the flap of the case exactly as before, photo 4. Now the most complicated part happens: we place the deck aside, and with the right hand, we open the flap. This allows the audience to see the card already inside the box. We release the flap to “take out this card,” but in reality, we slide out the card that is below the box, simulating that it is coming from inside, photo 5. Releasing the flap covers the action perfectly, because it prevents the audience from seeing the inside of the box. The selection is pulled along the box to “exit” to the right. Now you may discard the box and reveal the selection.
self. Needless to say (though I say it), you are left with a card in the case for another routine. Perhaps you want to have two cards selected, so that you can return to make the other card appear in the box. This time the spectator can retrieve the card. This technique has some weak angles, but you must practice it to the side to appreciate how versatile it is. The hands cover the action well, even from the side. Play with it, and make it yours. Nothing would make me happier than seeing this technique in your hands, friends and companions of ElManuscrito. Till the next issue!
Magical Ruses
We must not overlook the importance of opening the box at the end exactly 4 as we do at the beginning. This is so that nothing is suspected in the moment where we really do the sleight. Also, we may allow a spectator to choose the card that goes into the case at the beginning. Then the effect is that an unseen selection is identical to the card selected by a different participant.
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It is VERY IMPORTANT to know which card is placed in the box; one in fifty two times the card that is placed in the box will be the same one that is named. Then we will have a miracle; I accept donations when they believe in a new religion! Also, donʼt worry if the card isnʼt perfectly squared with the case at the moment of the load; the position of the box and the hand help to cover any un-squared edges, as you will note in practicing this in front of a mirror or video recording your75 7
THEORY ARTICLE
Difficult Spectators Biktor Chávez
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henever magicians get together one of the most recurring topics is the difficult spectator. The questions are always the same. What do you do with a difficult spectator? What do you do with someone who watches your hands like a hawk? When the questions are phrased that way, it seems to imply that the spectator is the problem and we magicians are doing everything correctly. So, letʼs take a look and see if what we are doing is a provocation or an invitation for the spectator to take on that attitude. Maybe we are causing the feared difficult spectator to appear. Having spectators looking at us closely and trying to discover how we do our effects is something that has happened to all of us at one time or another. You can almost sense those inquisitive stares and they are easy to identify once you see where the spectator is focusing. The management of this kind of spectator continues to be a constant theme of discussion. Nevertheless, I think it would be more productive to try and understand what causes a spectator to assume his watchful gaze. In my opinion, spectators assume an inquisitive attitude because the attitude of the magician is wrong; the presentation of the effect is somehow lacking; or the spectator is not being directed or misdirected properly. Letʼs take a look at these one by one. Attitude: Some magicians present magic as sort of a challenge. They seem to be saying, “Look what I can do!” or “See if you can catch me!” Once I heard
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a stage magician say, “Thatʼs why I am standing here and you are sitting out there.” We need to study our presentations carefully and make sure that there is no element or attitude that can be construed as a challenge. Do not challenge your audience. If your spectators do not feel challenged, they will be relaxed and, as a result, will not attempt to discover your secrets. If the problem spectator is frequently a member of your audience, it may be a good idea for you to go over your presentation. Maybe there is some small or subtle detail, attitude or phrase that makes your spectators feel that they are being challenged. Another way of provoking your audience is assuming a superior attitude as if you were doing them a favor by performing for them. An attitude of superiority is never well received anywhere. Presentation: If your presentation is not interesting enough, your audience will look for something that is interesting. That something will be their attempt to discover the secrets of your magic. An important part of your presentation is the way you relate to your audience. Relating to your spectators on a personal level means that your public will focus more on you and less on your hands. People like people and, even more so, if those people are like them. If the way you dress or behave is very extreme, it will take more time for a rapport to develop. We seem to forget that the person doing the magic is more important than the magic itself. If your audience likes you as a person, your magic will be better received.
Misdirection: If you direct your audienceʼs attention to the spot where a sleight will take place, they will see it. We need to misdirect the audience. Unfortunately, many magicians erroneously think that misdirection means distracting your audience. Thatʼs a big mistake. What you need to do is to direct or attract the gaze and the attention of the spectators far from the spot where you will do the sleight. If you do not know how to do that, then I recommend that you seek out information about misdirecting and controlling the attention of your audience. There are times when we unknowingly direct the gaze of our spectators to the exact spot where we are doing that certain something. If we have not practiced the sleight sufficiently our body language gives us away and tells the spectator that we are performing a secret move. It is our fear of being discovered the ends up betraying us. There is something we cannot avoid and that is the innate curiosity that all human beings have. All of us want to know about things that have no logical explanation. Part of our job is to make our audience put aside their curiosity and give themselves over to the impossibility of what we are going to do. The first step to doing that is to make sure that the construction of our effects and routines is correct. However, thatʼs a topic for another day.
About Biktor by Dani DaOrtiz
Bíktor Chávez is a card magician from Mexico who is a fervent admirer of the theory of magicʼs most important authors. He is also a columnist for several magazines, a writer and a lecturer. Two of his most requested lectures are “Reglas de Claridad”(The Rules of Clarity) and “Misdirection: El Control de la Atención” (Misdirection: Controlling Attention). He is currently working on two books. Misdirection: El Control de Atención will be published at the end of this year. The second, La Carta Extraña (The Stranger Card), co-authored by José Antonio Godoy, will be published in the near future.
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CARD MAGIC
LG762 .
SOURCE
Evolved via Bob Hummer, Ludow (France) and Ali Bongo. My friend Simon Aronson streamlined it with his “Shuffleboard”. I describe three versions:
Rainman PERFORMANCE
-Rainman -XO-Rainman (Using a fifferent “turn over ritual”) Display the apparently shuffled deck. Let the key card, -XXO-Rainman (Starting with a genuinely shuffled the seven of clubs (or your favorite one), separate the deck) groups. Split the deck at the key card (so it belongs to group A): let people on the left side inspect and EFFECT shuffle the group A while the right side does the same with group B (or hand out three – four packets). The spectator mixes the deck several times face up Gather the cards but keep the A/B separation, maybe and face down in a disorganized condition. Yet, after- with a pinkie break. Place the two piles on the table wards you can still say exactly how many cards are face down, far apart from each other. face up and face down. Furthermore you can state which groups of cards these cards belong to such as; The spectator lifts a pile from A, perhaps some 5-10 red/black, odd/even, picture/number cards. But you cards and turns them face up. This little face up pile make one mistake – the seven of clubs does not fit in. is then pushed into the B pile – as in the Rosetta ShufAt this point you let the spectator read the note you fle (see Fig. 2). wrote, before the experiment started - as an insurance incase anything goes wrong. It says: ”Except the Then a new pile is lifted up from B, turned over, and Seven of Clubs!” placed next to A – and these cards are shuffled into the A pile in a similar fashion. Already at this stage the A demonstration of a superb, subliminal mnemonic smaller transfer pile usually contains both mixed face technique – one that even outshines the famous Rain- up and face down cards. man from the film with the same name about a man, gifted with super powers. This procedure is repeated any number of times and it does not matter if the spectator wishes to add some The cards are split up into two groups: A and B. more cards from the same pile several times. A: 23 cards – 12 any red cards including several court NOTE cards. 11 black cards consisting of all even number cards and the seven of clubs (i.e. Clubs and Spades The only thing you must remember is that every time of 2,4,6,8,10 + Seven of Clubs) the transfer pile passes the dotted imaginary centre line between the piles, it must be turned over. And the B: The remaining 29 cards (see Fig. 1) end: turn over all the cards in one heap and mix the heaps together. In spite of the apparently uncontrolled 76 0
Rainman I, II & III
Lennart Green
shuffles the two groups keep their original cards so that; All original A cards are face down while all B cards are face up! You now appear to duplicate Rainmans achievements; Take four slips of paper and openly write some statements, and say: “you can cover the cards with your hands so I canʼt peek and I will write four statements or predictions that I subconsciously have registered.” CONDITION Write: 23 cards are face down 12 cards are red All black cards are spot cards All black cards are even
The ”Rosetta” Shuffle position
As before; 23 selected cards are on the top of the deck. (12 red, 11 black, all black = number-cards + even cards + Seven of Clubs). After a proper “shuffleactivity” (ie. false shuffle) you now spread the cards face up in a big spread.
Notice that the prepared 23-card group is on the left side, of the spread (if the deck is spread from left to right). Indentify the key-card at the border e.g. Seven of Clubs – and this card belongs to the selected left wing. Ask the spectator to use both his hands and pick up two heaps of cards – one with each hand. Demonstrate from which parts ha can take them (see fig. 3). ANALYSIS Show him how to take the cards from above, thumbs It is useful to understand how this can happen. Try above and fingers below, and the palms towards himfirst by having all reds cards in the A pile and all black self. Ask him to lift the cards, turn them face down, cards in the B pile. Then it is easy to understand why and put them down in front of the spread. the color separation remains after the turn over and The spectatorʼs card grip has two purposes: the shuffling. 1. The amount of cards will be suitable 2. Itʼs convenient to turn the packets face down Watch carefully so that he doesnʼt pass the key-card! XO-Rainman He may leave some cards on both sides of the Seven Occasionally I perform Rainman in a different way, es- of Clubs. Now let the spectator verify each statement successively… and demonstrate that all are true… except the last statement… a single mistake… this is when you remind them of the “insurance” – the folded up slip: “Except the Seven of Clubs”.
pecially if I have done the traditional version for the Now we have created five heaps: same group of people on an earlier occasion. - Two of them face down, Of course I use different cards in the “Memorized” - Three of them face up, group. To simplify the description I here use the same - The middle heap is marked “M” - The remaining are marked “A-B-C-D” counter clockgroup of cards as described earlier. wise (see fig. 4) 76 1
Now you will “demonstrate” what the spectator shall do. This demonstration is a perfect, covered excuse to start the “mishmash-face up/face down shuffle.” Split the M heap at 7C, which goes to the left hand. Say: “Now you shall shuffle the cards like this.” Turn the right portion face down – and mix right and left hand cards together, face up/face down. Donʼt square them up. Just leave them in “Rosetta-order” and hand the M-packet to the spectator.
two pieces of papers and write: “There are 23 face down cards and 29 face up cards”
Now the spectator shall shuffle all heaps, in order AB-C-D counter clockwise – reverse the growing “The face up heap contains three more red cards – packet before every new heap. Did you follow? OK. than black cards in the face down heap”. In detail: Fold the two pieces and let anyone read the state- Hand him the face up/face down M-heap, which ments at the end. This version is not really self-workYOU now completely turn over. Act slowly so that ing. You must be able to secretly count 23 cards. This none of the cards flip over. Do this turn over move “to can be done if you cover moves with natural, approdemonstrate” how the spectator shall act (or let him priate talk. do it). -Take the deck in your left hand, assisted by the right - Move to the A-heap, and observe when he interlaces hand. the two heaps M-A into each other. Donʼt square up the growing heap. Always leave it in “Rosetta-forma- -Hold the deck in an upright position with the faces towards the audience. tion.” - Turn over the M-A-heap and “interlace” it with the B- - With the left thumb on the back of the cards you heap. You can help him a little by doing a “Rosetta”- gradually push them to the receiving right hand. arrangement of the waiting table heaps. -You look at the back of the cards and count them – - Go on counter clockwise. Turn over the M-A-B-heap but not one by one. Instead you look at them in groups of “three” and “two” like this: …3-2… 3-2… and shuffle it with C. etc. But how to conceal that? - Turn over the last heap, the complete deck. - All your selected 23 cards are now face down!
1. Your words and actions should be linked together into a natural unit.
Practice the sequences with a red/black-separated deck and follow the orientation among the cards. 2. Point out some curious facts about the cards that OK… one more variation if a cruel audience insists to make people look and check your statements. shuffle the complete deck before you start. This is ac3. Avoid long sequences with similar, repetitive tually a strong routine and not just an “out”. moves.
XXO-Rainman
4. Try to use a deck with white border to make the counting easy.
This is an impromptu Rainman routine where you e.g. use a borrowed deck-which however must be com- 5. Move around, if possible, and show the cards for plete. When the spectator shuffles the deck you take different people. 76 2
6. Do the action in small steps. Try to hold a break, so you can square the deck and “start again” this break = Deck in the left hand. Some counted cards are spread to the right hand in a fan-formation e.g. 10 cards. Left handʼs ring and little finger tips touch the face of the 10-card heap. Push back the 10-card heap over the deck and keep a little gap/break with the mentioned fingertips, invisible from the front. Now you are able to quick spread your 10 cards and start a new count.
teresting that the cards are shuffled in lots of levels… Look! Reds and blacks are mixed together and normally not more than 5-6 cards of the same color are together, Can you see that? That is statistics… Picture cards are mixed with number cards and seldom more than three picture cards are together, right? Odd and even cards are mixed” etc. CONDITION (for XXO-Rainman)
I will try to exemplify this in detail: Deck in the left hand, face down, spreading cards to You have a break under the 23rd card. the right hand while counting: -Put the two heaps apart and end like Rainman “This deck is an American deck, printed with the old above. technique… I prefer this quality to the new one… Can -Peek at the 23rd card, at the break, and follow deyou see how shiny the backs are… etc. scription for X= Rainman. Count …3 + 2… …3 + 2… in a slow, relaxed way with some small interruptions. After these 10 cards This covers the statement; “23cards are face down square the deck – but retain a break under these 10 and 29 are face up.” cards. (Practice, if you wish, to start the count without looking at the cards – just by feeling them with your The second statement is automatically covered by self-working mathematics. Just check! fingertips. At least 3 or 3+2 cards are easy to feel.) Now I change my action little. I raise the deck with the faces towards the audience. I quickly spread my 10 cards to the right and naturally I donʼt need to count them again. Instead I start a new count, with patter like this: “You have shuffled these cards… and you know that there are 52 cards in a deck… and itʼs in 76 3
About a few
TECHNIQUES COIN MAGIC
Juan Luis Rubiales JLR766
I
t is important that our technical knowledge be as vast as possible, because it is only in this way that we can choose the best techniques and internalize them. To do so, we are obligated to read Jean Boboʼs book, “Modern Coin Magic”, as well as the first book of the Tarbell Encyclopedia.
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1.Han Ping Chien
T
he majority of great coin magicians have their own version of this classic technique, which proves once again the importance of personalizing our movements and gestures. I invite you to study my handling of Han Ping Chien and the Click Pass, which you will see explained on the next page, along with the rest of the variants, before you arrive at your own.
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The spectators believe that we have a coin in the closed fist, but in reality, it will be in the position shown in figure 1. The other coin is in view in the same position as that which we will use for the Click Pass; this placement is explained more in depth on the next page. The hands are slightly elevated above the table. The left hand is very close to the table, and the right hand is slightly higher and forward than the left. Now two things happen almost simultaneously: the right hand thumb is removed, allowing the coin to fall until it hits and is held by the right pinky, and the left hand drops its coin on the table, giving the illusion that it is the same coin. To create a perfect illusion, the timing of the right hand with respect to the left hand is of utmost importance. I recommend relaxing the body at the same time this movement is accomplished.
JLR767
2. The Click Pass
T
his is a technique that occurred to me only a few days ago (I wrote these lines April 14, 2012). I came upon this technique with the intent of adapting the classic click pass, which is done by dropping a coin from classic palm onto another coin on the fingertips, before it falls to the other hand. It is not intended to be a substitute for any other pass of this style but simply to expand the methods made possible by this utilitarian technique. In picture 3, we can observe the placement of the first of the two coins, which we supposedly “pass” from one hand to the other. The coin is held by the thumb against the index finger. The thumb relaxes a bit and allows the coin to fall, sliding down the fingers until it stops at the pinky, which is stepped slightly inward. The coin is balanced on the pinky and "leans" against the other fingers. It is very important that at least half the coin was visible while held between the thumb and index finger. The more visible coin is, before the sleight, the more deceptive the retention. It is important to note that when the coin “falls” into the left hand, we should "feel" it fall. In fact, we believe the coin fell. The left hand must lower sharply a few millimeters (1/8 th of an inch) with the proper timing to create a convincing illusion.
The right hand goes to pick up the second coin, maintaining the first in finger palm, the left hand closes a few of its fingers slightly and stays immobile. The right hand takes the second coin in the same position as before, 3 as in figure 4. The thumb releases the coin, allowing it to slide down the fingers and into the left hand. On it's way down, inside the right hand, the second coin will inevitably fall onto the finger palmed coin, creating the auditory illusion that the second coin has hit the first coin supposedly in the left hand. The second coin is allowed to fall into the left hand, which immediately closes it's fingers into a loose fist.
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A few words about the “Italian Palm” (Thumb Clip)
I
t is a curious thing, that this is one of the palms least used by actual coin magicians. The reason may be that as we spend more time in the art, we discard it as some “beginner principle.” This palm has many advantages: it is easy to get into with only a few micro movements, it leaves all the fingers free, except for the thumb, and it does
1 see that by starting from the aforementioned position and taking the coin to thumb palm, the micro movements disappear, as does the tension on the back of the hand. Take a coin and try it; youʼll be astonished!
Although its use can be very limited, there are occasions where the thumb palm can be used to substitute other palms, including classic palm or finger palm. In pictures 3 (next page) and 4, I demonstrate one 2 way to thumb palm one coin from a group of four, which I use for a coin trick that I call, “They go hand in hand.” Begin with not generate any tension in the hand. a one-handed coin spread to show the four coins, In picture 1, we can observe the postures of a hand quickly close the hand trapping the coins between passing a coin from the tip of the right middle finger to classic palm. This covert action is done as the hand retreats to rest on the edge of the table. Note how the hand, to relax on the table, must extend the ring and little fingers slightly. These micro movements create tension on the back of the hand. If the coin were to be moved by the ring finger to the classic palm position, you would “only” have to extend your pinky finger, although a slight, noticeable movement would still remain. It could also telegraph an improper tension for 4 an “empty” hand. However, in picture 2, we 76 6
JLR769
your fingers and then open the fingers to leave them balanced on their tips, and finally close the fingers into your palm, one by one, starting with the little finger, trapping the coins between your fingers and the palm. The coin on the index finger is brought to thumb palm position.
3
For a long time I took the coin into classic palm for this trick, until I rediscovered the “Italian Palm” (Thumb Palm), as in picture 4. At first you may think this is a very difficult way to place a coin in thumb palm, but it works for me. I use this action to show the elements of the game that match my patter: “Do you know the difference between skill and magic?” This is skill and this is the other...
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THEORY ARTICLE
Double
The
A Basic Approach to Its Handling
Acquisition, Use and Disuse
T
he handling of a double card has three steps that are used either in an effect or a routine. You acquire the card, you use it and then you no longer need it. Letʼs examine each of those steps. Acquisition
This is the moment when the double card enters into play. The cards are either together or separated in the deck. The double can be acquired, depending on its position, using a Double Lift, an Ascanio Spread, a Cull, or a Palm. Its acquisition takes only a moment and that moment is what I call the acquisition phase. Use
Once we have the double, we use it, as needed, in our effect. During this phase the cards can stay together or be separated. The spectator must never be aware of the existence of a double card. Once we have made use of the double, we proceed to the last phase. Disuse
The double has served its purpose and is no longer needed. Disuse should not be confused with lapping the cards or returning them to the deck. It simply refers to that moment in time when the doubleʼs work is done. We need to be aware of the fact that there are many other factors that enter into these three phases. These factors are the flourishes or techniques that are added depending on the trick or routine and they can vary depending on the phase in which they are used. We can use a 76 8
Card Part 1
Dani DaOrtiz
sense of naturalness. Another could be a refined or elegant way of putting the card on the table. Always talk of a single card while working with the double. If you use a flourish, it should be one that creates a convincing movement. There are an infinite number There is a technique that we all use and it barely of ploys that can hide from the spectator the fact lasts a second. It is the Double Lift. The acquisition that you have an extra card. phase occurs when we turn over the double to show its face to the spectator. We use it to show a card The Omission of the Double has the same goal as that will either disappear or be transformed into a Ascanioʼs Action of Apparent Continuity. It is that different one. It is relegated to disuse when we turn small movement or small logical action done after over the double and take the top card and place it the sleight that, because of its naturalness, draws on the table. We can include other factors like Pepe attention away from the secret move. Squaring the Carrollʼs Spin Flourish in the acquisition phase. deck after adding a card is a clear example. The Using the thumb and fingers to flip over the double squaring of the deck, because it follows the first acto show that it is clearly one card is a flourish that tion creates the Omission of the Double that obbelongs to the use phase. scures the sleight. The difference between an Action of Apparent Continuity and the Omission of 1. Verbal and Visual Omission the Double is that the latter can be done in a moment that is not part of the action that precedes the mission is any technique, word or motive sleight. Whereas one directs attention away from that makes the spectator subliminally bethe sleight, the other can be done simultaneously lieve the exact opposite of what we are with the sleight. While the Action of Apparent Condoing. When we talk about the use phase we need tinuity happens after the sleight has been perto include those elements that continually deceive formed, the Omission of the Double can be done the spectator and make him believe that there is within the context of the sleight. For example, you only one card instead of two. flick the double to give the impression that there is only one card, but you are still holding two cards. You should not create a sequence where you take Both fulfill the same objective of disguising the the double, put it on the table, pick it up again, palm sleight to the point that it is invisible. the rearmost card, do a color change and then ditch the second card. You are showing the spectator too 2. Photographic Displays many things at one time. You need to insert ploys that create what I have called the Omission of the here is a close relationship between displays Double. One ploy could be a simple flick of the finand the double since in either the spectator gers against the double while holding it to lend a is convinced that there exist no other cards flourish to get the double in the acquisition phase. We can also insert a flourish into the use phase. I use the term flourish only as an example since my preference is for a natural handling of the double.
O
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other than the one(s) he is seeing. When I began my study of displays in a piece that I wrote for myself, I came to several conclusions. My study was called “A Birdʼs Eye View” and my conclusions follow below. There are two kinds of displays – normal and photographic. I use the term normal for those displays that do not leave the spectator with a visual memory of what they have seen. It is a memory created by a convincing, rational action. There are a number of techniques that fit this description. The Optical Count, The Hamman Count and The Elmsley Count immediately come to mind. At no point in time do we see all the cards at once. For that reason there is no photographic memory of the cards. With these types of counts the spectator is convinced that there are a certain number of cards based on the message he is receiving. The magician says there are four faceup cards and doing an Elmsley Count he counts and shows four cards. The problem here is that you are alluding to something that it not true. Itʼs preferable to say that you have some red cards and show them with an Elmsley Count. However, a problem still remains in that the spectator will see four cards, but will not feel there are four cards. If he doesnʼt feel there are four cards, he will not record this in his memory. The photographic display is recorded in the spectatorʼs memory. While the normal display tries to convince the spectator of something, the photographic display deceives the spectator directly. There is no need to count the cards here because the spectator is aware of the number of cards he is seeing. The most important factor is using the subtext of the moment. Although our intention isnʼt to show four cards while hiding the extra card, the spectator will believe what he sees. That being the case, I do not need to count the cards. The Ascanio Spread is a good example. Four cards are simultaneously displayed and they are seen to be separate and the brain rapidly records seeing the four cards by simply looking at
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them. The spectator can clearly see the number of cards and their values. This display creates a photographic image that is easy to recall. There is no doubt that the photographic display is a better option while handling the double card. This is especially true if we are showing it several times in the course of a routine. Its benefit lies in the fact that it receives little attention and at, any time, under any pretext we can do an Ascanio Spread to show that there are four red cards, although our intent is to let our spectator see that we are using only four cards. On the other hand, we need to be aware of the fact that with certain non-photographic displays the spectator is convinced that there is only one card.
