Parentheses in Magic According to Ascanio and Gabi Pareras

One of the most fascinating and useful concepts in the magical theory developed by Arturo de Ascanio is that of parentheses, which Gabi Pareras describes and expands upon with extraordinary clarity. These parentheses are essential tools for magical construction, as they influence the perception and memory of the spectator, enabling deception to flow smoothly and convincingly. There are two types: the parenthesis of forgetfulness, which is necessary, and the anti-contrast parenthesis, which must be avoided at all costs. Understanding how they work and when to apply them is fundamental for elevating the quality of our magic, taking it from a basic level of trickery to something far more profound.

The Parenthesis of Forgetfulness

The parenthesis of forgetfulness consists of separating in time the moment when a secret or deceptive action is performed and the moment when that action produces its visible effect. In Pareras’s words, it is about “distancing the moment when the dirty work is done from the moment when that work bears fruit.” This mechanism seeks to manipulate the spectator’s memory so they do not associate the secret action with the final result. By doing so, a psychological disconnection is created, reinforcing the sense of impossibility.

For example, in the cut force technique, the spectator is led to forget which packet was originally on top during the cut, eliminating any suspicion about the method. Another classic example is the plot “Twisting the Aces,” where, after preparation, the aces are placed on top of the card case while the presentation unfolds. This pause allows the spectator to disconnect from the initial setup and focus on the subsequent narrative, making the final effect appear completely impossible.

However, it is not enough to simply “make the spectator forget.” It is crucial that the parenthesis of forgetfulness is applied precisely, carefully measuring the time that passes. If the interval is too short, the spectator may retain the connection between the action and the effect. If it is too long, it may be perceived as an anti-contrast parenthesis, diminishing the clarity of the piece.

The Anti-Contrast Parenthesis

The anti-contrast parenthesis, on the other hand, must be avoided because it muddies the contrast between the initial situation and the final situation of the trick. As Pareras points out, contrast is the core of the magical effect: the greater the perceived difference between the initial state and the final result, the more powerful the illusion. If anything “taints” this contrast, the effect loses impact and clarity.

An anti-contrast parenthesis can occur when the magician includes unnecessary or disconnected actions that divert the spectator’s attention away from the main narrative. For instance, if after showing an ace turned face up on the table, the magician performs multiple unrelated actions, the spectator might become confused or lose interest, weakening the strength of the effect. Similarly, if too much time is spent on unrelated dialogue between losing a chosen card and revealing it, the spectator may forget key details, such as having shuffled the deck themselves or even the identity of the card.

The Balance Between Forgetfulness and Contrast

One of the greatest challenges in using parentheses is maintaining a balance between creating forgetfulness and preserving contrast. At this point, Ascanio introduces the concept of “apparent continuity actions of the initial situation.” These actions recreate the conditions of the piece’s initial situation to minimise the risks of the anti-contrast parenthesis. For instance, in a piece where the cards appear to have been shuffled chaotically, an apparent continuity action could involve spreading them out on the table again, reinforcing the perception of disorder before the final revelation.

Gabi Pareras complements this idea by noting that apparent continuity actions allow the spectator to maintain a coherent perception of events, while the parenthesis of forgetfulness ensures that critical details of the deceptive actions fade from their conscious memory.

Applying Parentheses in Practice

Parentheses primarily operate between the initial situation and the final situation of a piece, where the magical contrast is defined. During this interval, the magician must decide what they want the spectator to forget and how to achieve this without compromising the clarity of the effect. For example, in the plot “Cutting to the Aces,” a parenthesis of forgetfulness occurs when the magician takes the first two cards and engages the spectator in conversation before revealing that one of them is an ace. This pause reinforces the illusion that the spectator has full control over the process.

In more narrative-driven pieces, such as “Twisting the Aces,” the parenthesis of forgetfulness is used to introduce presentation elements that enrich the magical experience without negatively affecting the contrast. Here, the narrative becomes an ally of the parenthesis, diverting attention away from the methods and focusing it on the story being told.

Conclusion

Parentheses are a testament to the depth and sophistication of Ascanio’s magical theory, enriched by Gabi Pareras’s contributions. Understanding and correctly applying the parenthesis of forgetfulness while avoiding the anti-contrast parenthesis are essential skills for any magician aspiring to create unforgettable effects. Beyond being technical tools, parentheses are a psychological language that connects the trick’s narrative with the spectator’s perception, allowing magic to occur not only in what is seen but in what is remembered.

In future explorations, we will delve into related concepts such as feeder actions and transit actions, which complement and expand on these ideas, taking magical theory to new levels of excellence and creativity.

-Al Berbel

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