The General Scheme of a Trick in Ascanio’s Theory

In this essay, we will explore the general scheme of a trick according to Arturo de Ascanio’s magical theory, integrating concepts we have discussed in previous analyses, such as transit actions, timing, and principles of cover. This theoretical framework not only provides clarity in constructing a trick but also delves into the relationship between technique, psychology, and presentation, always aiming to maximise the impact of the magical effect.

The General Scheme of a Trick

Ascanio’s general scheme of a trick is based on a basic structure that allows for the analysis and organisation of the different phases of a magical effect. This scheme, represented by an arrow symbolising the development of the trick and its effect, highlights that magic is an art of time, experienced by both the magician and the spectator.

Above the arrow is the External Life, representing the visible dramatic development of the trick. Below the arrow is the Internal Life, encompassing the secret movements, technique, and preparation hidden from the spectator. These two dimensions must interact coherently to achieve maximum impact.

The scheme divides the trick into the following key phases:

Additionally, Ascanio incorporates the concepts of “working before starting” and “working after finishing,” emphasising the importance of preparing and concluding a trick with attention to detail.

The Phases of the Scheme

1. Expository Phase

The expository phase introduces the context, the elements of the trick, and its presentation. According to Ascanio, this stage is crucial for capturing the spectator’s attention and defining the terms of the effect. During this phase, the magician can perform technical preparations disguised as innocent gestures. It is essential that these actions are not perceived as the start of the trick, to avoid premature scrutiny from the spectator.

For instance, in the trick Hambre de soñar, the magician introduces a number into the spectator’s mind while speaking about coincidences, without revealing the purpose of the number. This careful handling of information prevents confusion and maintains dramatic interest.

2. Initial Situation

The initial situation refers to the state immediately preceding the magical moment. It is during this phase that the contrast is constructed, which will amplify the impact of the final effect. According to Ascanio, the clarity of this phase is directly proportional to the strength of the effect.

In Hambre de soñar, the chosen card is visibly lost in the deck. This clear contrast between the initial situation (the card is lost) and the final situation (the card appears at a specific position) maximises the effect’s impact.

3. Magical Moment

The magical moment is the climax of the trick and consists of two parts: the magical gesture and the final situation.

• Magical Gesture: This could be a snap, a word, a glance, or even a pause. It acts as the catalyst, preparing the spectator for the effect. Its function is dramatic, generating suspense or anticipation.

• Final Situation: This is the realisation of the effect. Here, the spectator sees the magical outcome and relates it to the preceding actions.

A clear example is the ambitious card routine, where the magical gesture might be a slight pressure on the back of the card before revealing that it has returned to the top of the deck.

4. Corroboration of the Effect

The corroboration phase aims to confirm the authenticity of the effect and allow the spectator to internalise it. According to Ascanio, the magician should perform actions the spectator would want to do to convince themselves of the miracle’s reality.

In Hambre de soñar, this may involve recounting the cards to the indicated position, adding sincerity and astonishment from the magician, which reinforces the magical experience.

Complementary Elements

Working Before Starting and After Finishing

• Before Starting: Performing technical actions while the spectator is unaware that the trick has begun, such as locating a card or preparing a palm.

• After Finishing: Adjusting small details at the end of the trick, taking advantage of the spectator’s distraction after applause. This is particularly useful in false endings.

Economy and Clarity

Ascanio emphasises the importance of the economy of means in the internal life (technique) to achieve clarity in the external life (presentation). This balance ensures that the effect is visually comprehensible and psychologically coherent.

Relation to Parentheses and Accentuations

The parentheses of forgetfulness and anti-contrast are essential to maintaining the continuity and impact of the effect. While the parentheses of forgetfulness aim to separate the moment of the sleight from the visible effect, the anti-contrast parentheses should be avoided as they diminish the contrast between the initial and final situations.

Accentuations allow the magician to highlight key moments of the trick, guiding the spectator’s attention to the most relevant actions.

Conclusion

Ascanio’s general scheme of a trick is not a rigid template but an adaptable tool that allows for the analysis and optimisation of each effect. Integrating technical, psychological, and dramatic elements into the different phases ensures that magic is not only visually astonishing but also emotionally impactful.

Understanding and applying this scheme invites us to explore new creative possibilities and refine our art, following the legacy of the master Arturo de Ascanio.

-Al Berbel

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