Magic in mind

My main reason for taking this approach, however, is that having
an audience member “enforce” my blindness is the strongest

trick is done with a cloth blindfold or a “human” blindfold

start looking for ways to dramatize key conditions of an effect
by having the audience “police” those conditions themselves.

off that box,” or, “And they never let go of his wrists,” or, “And

abstract speaks to the intellect; the concrete image speaks to the
emotions and instincts.

know they can cite statistics about thousands of children

with your words. Magic in Mind

The technique of dramatizing through words is very similar
to those used by poets. The poet employs metaphors, similes,
and evocative imagery to go beyond communicating with the

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Magic in Mindwill do the same to make the spectator appreciate the key
conditions of an effect in his gut as well as in his brain.
An appreciation for, and use of, presentational angles of this
kind is one of the features that most distinguishes professional

effects.

performing for other magicians.
Once you start thinking in terms of dramatizing conditions
many ideas will occur to you. Opportunities for dramatizing
the conditions of an effect are limited only by your imagination.
This area as much as any indicates why presentation offers as
much room for creativity as inventing new moves or effects.

Convincers

A technique at the other extreme from the dramatization of
conditions but which aids in the same ultimate goal is the use of

underscores the purpose of the technique, which is to strengthen
conviction.

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convincers are off-handed, seemingly uncalculated. That is, in
fact, their greatest strength.

Darwin Ortiz
Strong Magic
1994

Magic in Mind

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Magic in MindConstruction of magic seems quite technical when you attempt
to articulate it on paper. The truth is, these constructions
begin in our mind, often with a dream. Next, Tommy Wonder
and learn to harness its power.

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The Mind Movie

By Tommy Wonder,
with Stephen Minch

about the mind movie

totally original and unlike anything that has come before, there
are still many details to be ferreted out. Then eventually, slowly
perhaps, yet surely, an ideal version of the effect begins to take
shape in my mind.

rethinking the effect, imagining myself doing it again and again, Magic in Mind
my misty idea grows into something crystal clear. After a time

know exactly how the effect will be.

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Magic in Mindnecessary props and use them during these fantasy rehearsals.
quickly discover any awkward spots. A handling sequence may

envision it and to detect any rough spots.

that during the effect something must vanish from my hand.
pantomiming its vanish, and continue as if the disappearance
work out the secret method that will eventually accomplish the
to make my dream as concrete as possible. My thoughts must
become totally clear. The clearer the desired effect is in my mind,
the easier it will be to achieve later.
After doing these exercises for a time, the effect becomes like
to do now is push it from the womb of my imagination into

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Not thinking about certain practical matters at this stage is
possible. That would only limit your freedom of imagination and
matters linked to possible methods, you will no longer be able
by concessions. The mind movie must grow within an unbound
by what you see as the most splendid goals of magic. This is the
truly creative stage.

development of an effect. The movie tells me what direction to

concerning the effect. The mind movie tells me what to strive
for.

These movies free your imagination and allow you to approach
your maximum potential for beauty in your magic. A further
This is essential, your self-portrayal in your mind movies should
be a faithful representation of your personality and your means
will be able to experience your imagination and you. They will

The Books of Wonder Magic in Mind
1996
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PARTNINE

GET YOUR ACT
TOGETHER

“Those people wishing to be the
best at something generally need
to have one foot planted in that

area of interest, but another
rooted firmly in the rest of life.”

—Derren Brown

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Magic in MindRoberto Giobbi begins our discussion with an analysis of how
to assemble several effects into a routine or act.

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Construction

By Roberto Giobbi

Choice of Repertoire

agree with the motto of the cigar magnate, Zino Davidoff:
and

Only the best tricks are good enough to form
a part of your programs. Ask yourself the following questions:

appeal to you, as these are the only ones you can present with
enthusiasm and conviction. All too often performers choose to
do tricks simply because they have seen someone else achieve
success with them on television.

Magic in Mind

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Magic in Mindprogram has a theme, then every trick must function in relation
no matter how good the trick is, it will seem out of place and
will detract from the quality of the other tricks.

easiest, but the one that will have the greatest impact on the
must do a pass, learn it. The old exhortation that only the effect

suffers; and the best method is not always the easiest.
The choice of repertoire for a program is very important, more so
insubstantial trick used weakens all the others, whereas every
strong trick enhances the rest.

tricks to your repertoire.

Various Effect Categories

The routines and tricks in a program must belong to different
what these categories are.
Appearance, disappearance, transformation, transposition, penetration,
location, destruction and restoration, telepathy, clairvoyance,

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themes.
A good routine is already a combination of several of these

more impressive demonstration.

The Program Structure

Next we will discuss the structure of a classical program from a

concrete examples using tricks from this course.

attention, introduce yourself and break the ice. This can be done
verbally, but is best accomplished in conjunction with a visual

well-thought-out humor here, as laughter is the fastest way to
dissipate any initial tension. The opening can be a gag lasting
ten to twenty seconds, or it can be a short, complete trick.

audience. A good trick with some light spectator involvement,
such as having someone say stop or choose a number, is ideal

skills. Magic in Mind

you can really get started. One or two especially strong tricks

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Magic in Mindor routines, which may have a complex structure, are suitable.
Audience participation is very important here.

mysterious.

clear, simple structure. Strong effects with active audience
participation and many possible audience reaction-points are
ideal. This is the climax to your program, in which you exert all
your abilities to make your appearance memorable.

a tried and true recipe, allowing for the greatest possible range
improvise, you can determine what tricks you will use during
the actual course of the performance, following this structure to
guide your choices.

beginners to choose the tricks in their program in advance. This
for the integration of methods in the various tricks—which often
requires some thought and preparation.

New Tricks in the Program

Al Goshman, liked to say,

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readers of these books are amateurs in precisely this position.

several years. This allows you to perfect those tricks over time,
gradually mastering the material completely. The experience
and understanding gained in the repeated performance of these
tricks, along with growing technical and communicative skills,
will enhance those effects that you eventually wish to add to
your repertoire.

know that you are a magician, they may call on you to perform
when they get together. This would require that you always

Slydini advised, “A good general chooses his battleground,” and

is better sometimes not to perform at all; then later, possibly,
you can give a half-hour program, perhaps one that is specially
announced and by invitation only. This is much better than
doing “something new” each time you are asked. The audience
will grant you and your art more admiration and respect.

you need do is invite seven or eight friends for a drink, with
the promise of some magic afterward. This can be cocktails after
work or after an evening meal. After such a casual performance,
ask your friends at the gathering to arrange such an evening at

This method has been used successfully by the magicians of the Magic in Mind

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Magic in MindEscuela Magica de Madrid to secure performances over the course
of each year, during which they experiment with and study new
tricks.

tricks than to look for new tricks for the same audience.

In Conclusion

An examination of the principles underlying the construction
to put together a routine or even an extended program, the
theoretical and practical insights we have discussed here will
smooth your path to success. And should you ever desire to
create new tricks, these principles can guide you in inventing
good ones; and even more, they will help you to distinguish a
well-constructed trick from a poor one.
Roberto Giobbi
Card College 2
1996

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Roberto Giobbi

performing career, Giobbi has written himself into
the annals of magic with his Card College series
the most widely translated books in the history

all over the world on his unique brand of card
magic.

Magic in Mind

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had been looking over my shoulder, imparting this advice for

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Secrets

By Eugene Burger

As one who, as we say, “earns his living” entirely from the Magic in Mind
performance of close-up magic and sleight-of-hand for adults—
in cocktail lounges and restaurants, and at corporate and private
lightly.

up magic as a performing art have little to do with the position
maneuver, or with the latest card force, or even with some

be sure, for the performance of magic has a technical dimension
spent with a performer who is unable to conceal the fact that
he is doing “secret things” that one is evidently not supposed
or she is doing, but you know in your heart-of-hearts that he is

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Magic in Mindbecause a good deal of the fun of watching magic is the element
of surprise. As you watch a performer who constantly seems to
be “messing around,” surprise itself begins to disappear from
the scene.

all, does one get a selected card to the top of the deck without,

secret maneuvers—and that is the challenge of close-up magical

of strategies that conjurors unfortunately have tended to
lump together under the single name “misdirection.” These
strategies—and there are many—are designed to so involve the
audience in the theater of what is going on, in the dramatic plot
and character that is being created, that they do not also perceive
the “secret maneuvers” that the performer must invariably
execute.

art have to do with making the effects that you already know
really magical and entertaining for your audiences. These
secrets deal with the ways in which you work with people so
strengthened and your impact upon them is, thereby, sharpened

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There are many such secrets. Those that follow, while perhaps
not even the “most” important are, nonetheless, strategies upon

know exactly which effects you are capable of performing in
an entertaining way before living, breathing people. These
latter effects constitute your performing repertoire. Those other
effects, while part of your knowledge and thinking, your mental
accumulations, are not part of your performing repertoire.

you see it in black and white. No confusion. And, in the process,
you cut out all of the material that does not have much impact

creation—and who perform it in the secret recesses of church

Magic in Mind

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Magic in Mindprofessional magician some years ago, my performing repertoire

worked out entertaining presentations—so they could become
part of my performing repertoire.
repertoire is—in black and white—so you can see it. Once
material you have just cut, do you now want to work on and
add to your repertoire.
Start with the material that you have reluctantly cut as you listed

the paper that will quickly begin to accumulate. Our aim here is
to have in our repertoires only that material which is strong; not
items that are passable, but only the strong.
This really is a challenge because, in magic, there is a great deal
of junk: dreadful, awful, non-magical or even puzzling material.
fool people or sometimes even entertain them.

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more wonderful than any of his TV specials—especially in

or asking some other, potentially embarrassing, question.
Doug performed a cut and restored pocket handkerchief effect
wherein the handkerchief was twirled by its diagonal corners.

the torn and restored cigarette paper—or any one of the sleight-
of-hand miracles that he has done on TV and is tremendously

being a most excellent performer, is also a very real part of the

Magic in Mind

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Magic in Mindto wonder.
your performing repertoire only what you perceive as treasure.

becoming bored by repeated performance.

is, if you are being entertained by what is happening, your
audiences will “catch” your enthusiasm and energy—somewhat
like catching measles or chicken pox front a carrier.

Spare
reach that point where you can perform them without being
uncomfortably nervous. And, if that point never comes, never
performance is cumulative.
One bad apple can spoil the bushel.
your impact.

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And “impact” is what performing is all about.

Names

manifestations in the areas of sorcery, voodoo, or ritual magic—
name. Thus, what might happen to a piece of parchment upon

the person.

it was believed, to do so would be to assume power over

students, when writing the word “God” on an examination,
would write “G-d”—a carry-over from these beliefs about the
power of names.

Magic in Mind

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Magic in Mindmy card work hinges on being able to palm a card off the top
literature will convince you that there are many, many, many

general, there may be one or two right ways for you.

what is best for you is a good deal of the fun of doing it all.

and sometimes instructive to see how other people do it, of
course, but in the last analysis it all depends upon you, upon the
size of your hands, upon the situation which you are creating,
with.
The important thing about card palming is that you relax
are saying and what your eyes are doing is more important than

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wants you to get on with it.

is done.

familiarity and fun in this space between the audience and the
performer in which magical things are being created. Using their
names contributes to the ambiance and people begin to relax

forties, when performing before individuals who strike me as
Generally, however, as one gets older, one can get away with a

Magic in Mind

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Magic in Mindperformer was too young.
Another great danger for the younger performer is appearing
to be a show-off or being perceived as an egotistical brat. Most

any length of time, people sooner or later comment on the
“regulars,” some so regular you wonder how they can take the
monotony of the same place all the time.

Remembering People: The Key to Success.

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Contact

eyes.

entertainers. Learn to look at your spectators, look into their
magical maxim that spectators will look where you do.

avoid meeting their audiences at what are potentially the most Magic in Mind
powerful points: the eyes. Learn to look into their eyes.

touching.

touch one of them and not the other – a light touch on the hand
that those who were touched seemed more involved than those
who were not.

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Magic in MindSchulien touching him in a natural and friendly way. A pat on
the shoulder. Shaking hands. Some form of non-sexual physical
contact.

do this— that you should never physically touch anyone, never
enter into that very personal space—much as there are those who
all just too personal.

you can gear your work to the neurotics out there who have
you are the one who is hung up about touching, however, of

The television program Nova told of an experiment conducted

people the same on both days—with one exception. On one day,
each librarian or staff member who checked out a book, accepted
involved in the transaction. On the other day, equal care was

on friendliness on the day when people were being touched.

The vast majority of people really are no longer up-tight about

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using this strategy of gentle touching. And, if you should end
up with someone who seems to react negatively after you have
innocently touched the back of his or her closed hand with your

pleasant attitude, and continue on with the effect.

you to enter into their space at all. Respect them.

Not Hearing Magic in Mind

in advantage over native-born speakers of the language. The
foreign-born person can “not quite understand” what has just
been said, as he leans forward, and the sleight is accomplished.
A native-born speakers of the language, however, one can
always not hear what has been said.

Like any strategy, this one needs to be used prudently.

spectator.

As your attention thus focuses on the spectator and what he
is being asked to repeat, the attention of the other spectators

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Magic in Mindawareness and the deed is done.
Try not hearing sometime.

Energy

sense of that word. Alexander is a wonderful teacher and he has
much to say and show that ought to be of interest to close-up
magicians.

picture—typically, a grand nature scene in which there might
appear waterfalls and mountains, great pine forests, thunderous
rivers, and always the marvelous sky.

take years to complete one painting. Too often, he says, students

and movement, about the tools of his craft, about the creation
of illusion through various visual techniques, and about life in
general—about pain and suffering and about enjoying what we
have as opposed to putting our energy into what we want.
Alexander himself is a wonderful performer. Not only does
he complete his painting in the 28 minutes allotted, he does

his canvases—and the nature scenes they suddenly begin to
depict—with very great importance. The secrets of the cosmos

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loom in those rushing waters and Zen laughter must be lurking
in those wind-blown pines.

A magical effect is much like a painting that is being created.
There is, at the beginning, a blank canvas. Then the artist begins

painting.

priest handle the various objects. Or go to an Orthodox service Magic in Mind

displayed and handled with great reverence. They are not just
tossed about or handled roughly.

investing the proceedings with importance. Spectators move a
bit closer. They want to see this.

one sees is not the magic but, rather, the fact that the performers
sometimes even much interest in what is happening. The pace of
the show begins to drag.
Magic-as-performed, to be magical, needs to be invested with

happening

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Magic in Mindbe comical, but it is seldom magical.

enthusiastic as well, and that is the beginning of impact.

Silence

Sometimes just being quiet for a moment … slowing down ..
stimulates increased audience attention.

Drama is born.

mind-shattering, and earth-shaking dimensions of the

deep gaze.
They want you to be a little “farther out” than they are.
The dramatic pause.
Silence.

One should use it.

assured the budding performer with the following words:

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importance of presentation for “magic tricks” to play well
before an audience, presentation always requires both practice
and certain theatrical skills.

Zag” or your favorite card trick.

Magic, after all, is an art.
Let us distinguish between practice and rehearsal.

practiced.

or strain, without signaling to those spectators who have not
and probably do—conduct practice sessions without talking,
you actually perform the routine.

“inspiration-on-the-spot” theory of performing. According to Magic in Mind
that view, what is interesting about watching magic performed
are the sleights themselves and how well or poorly they are done. 433

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Magic in MindAs far as the words the performer might utter while performing
his sleights, he can just as well leave them undecided upon until
the moment of performance itself—and he will be inspired “on
the spot.”

would subscribe to the “inspiration-on-the-spot” view. Very
has convinced me, however, that many close-up performers
subscribe to it in practice because their words do not seem to
have been thought-out much, if at all, before the performance.

repertoire changes and you drop certain routines, years later,
when your memory fails, the routines will not he lost should
you wish to work on them again.
Rehearsal means starting at the beginning of a routine and doing
it exactly as if your audience was present—speaking out loud
to those imaginary spectators. Starting at the beginning and
continuing to the end.

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and appreciated, we can see why there are so many awful

performance is the only rehearsal that many amateurs get. Many
amateurs practice – but they seldom rehearse.

Rehearsing requires discipline.

Magic is a performing art, but it is also a solitary art which is
learned – if it is learned – in the quiet hours spent alone with your
props and your mirror. All art is solitary whether it is painting a
picture or playing the piano. Art is always a solitary endeavor –
even when it is culminated in interpersonal performance.

Try this.

Repetition, when done with awareness, produces polish.

Magic in Mind

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Magic in MindIt’s Done With Mirrors

had written shelves of books on the intricacies of theology and
was the more deeply contemplative, if not mystical, monk.
which contained a fairly uncomfortable-looking bed and, on the
1982

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Eberhard Riese

Foundations he teaches precisely how
he goes about working with magicians to bring
out themes, a focus to their magic, and their
personalities.

Magic in Mind

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Magic in MindEugene’s invaluable advice to us is to narrow our focus and
ready to start thinking about putting together an act. But
as Eberhard Riese tells us, this is not a solitary endeavor: it
must be a group effort.

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The Team

By Eberhard Riese

The scholar in his quiet chamber, the attic poet-pauper in a
Spitzweg painting and the magician who invents, constructs
and performs all his or her own effects - they all are, without

if they ever did.

might be responsible for works credited to Shakespeare. Schiller
and Goethe, for instance, regularly exchanged letters discussing
their drama sketches.

events he witnessed on night patrol in police cars, on stories he
from house calls, he always used to jot down new information

Today, the philosophy of any company striving for success is Magic in Mind

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Magic in MindMusketeers, introduced by Alexandre Dumas as a successful,

conquered the rest of the world, as did the novel.

The following role play game has been an integral part of my
employees in a company. One is in charge of purchasing, another
manages sales, and there is also a designer and an advertising
copywriter. The company is in the doldrums and the boss wants
some excellent new ideas in 15 minutes. Then he leaves the
room.

team and also develop ideas collaboratively. The consistent result
in over 20 years: the team is always better than any individual.

gnomes ...

have been generated in all these years: singing garden gnomes,

gnomes, garden gnomes modeled on photographs of friends
and acquaintances to order, even former German chancellor

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teams...

to suffer.
The three most important advantages of team work:

same advantages.
All team members contribute their individual personalities,
including all their knowledge and skills.

produces better solutions faster than a single person.

six different types. Magic in Mind

The visionary has ideas, pushes the envelope and is highly
interested in social contacts.

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Magic in Mindoften good with his hands and tends to avoid social situations.
things apart, structure and simplify them, and are often order
fanatics.
The organist plans with foresight, but prefers to leave activities
to the doer.
The doer is a person of action who likes to act fast, can hence
appear impetuous and is sometimes a little egotistical.
Foundations
2006

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Working with a team means, above all, giving honest feedback.
Magicians are notoriously bad at this. Mike Caveney authored
this brilliant parody on what to say to a terrible magician
after a show.

Top Ten Back-Handed Compliments
to Use After Watching a Horrible

Magician

By Mike Caveney

6. Nobody does that kind of magic like you.

fooled me. Magic in Mind
MAGIC Magazine
October, 1994 443

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Magic in MindWe have spent a great deal of pages and time exploring all
the variables in our show that we control, but what about
outside forces? David Kaye views these outside distractions
are at their most extreme. But between the lines, we can gain
valuable insight into how to avoid similar distractions for
any audience in any venue.

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Distraction Progression
Theory

By David Kaye

where the latest hit show is playing. The 850 people, who each
paid $100, politely settle into their aligned seats and become
quiet. The 20-piece orchestra plays the overture as the ushers
show the latecomers to their seats. Three minutes later the curtain
rises on cue. The actors know their parts, the sophisticated
hydraulic system that controls the sets is in gear, the computers
that control the lights are ready, and the audience is in for an
enchanting evening of musical theater.

Ten blocks south, in Madison Square Garden, 20,000 fans of
Dave Matthews are getting restless. They each paid between
$67 and $1,000 to see him, and they know the show will be

concert starts the guards will form a human fence around the
stage to keep excited fans away from the musicians. Meanwhile,

screen television system will ensure that everyone will see each Magic in Mind

lighting and sound system will enhance his every move. 445

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Magic in Mindtrunk up the stairs of the subway and pushes it six blocks to the
her birthday party. The guests, 20 6-year-olds, have arrived

have to do.
During the show the 20 to 30 parents, who transported their little

and wants to share her knowledge with the rest of the guests.

an easy task.

for the kid show performer as there is for an adult theater
experience.
conditioned to respect the performer. Unfortunately, most kid
shows are performed in living rooms, school gyms, outdoor
parks, and the like. These are locations where people are
lighting, and seats, we have to control many aspects of the show
ourselves.

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magician does a bad show, the adults in his audience sit and
show, the children tell him so and then get up and go play with
the toys. The audience at an adult magic show sits in their seats
attack without warning.
Traveling around the country, lecturing at magic conventions,

order during a kids show.
This section of the book is intended to give practical and
theoretical advice on how to control all the elements at your

the perspective of performing magic for children, the rules and

staff; if you perform live for children and families in an informal,
non-theatrical setting, you probably have the same problems we
magicians have at our shows.

Magic in Mind

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Magic in MindThe Silly Billy Distraction Progression
Theory

control, my ad-libs are funny for the adults, and the birthday
will achieve a level of word of mouth that is 100 percent positive.

time that the issue of getting control over your environment has

Many different elements can prevent your young audience from
focusing completely on your performance. Some of the most
common distractions we kid show performers encounter when

The room is too warm.
The room is too dark.
Toddlers walking around.

Music playing in the background.
Activity behind you.

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