Only then will we feel the lost emotion of pre-logical and magical inno-

cence. Therefore, only if the magician is capable of finding that child in

others-and in himself!-will the magical spark occur.
And for that, I believe, he should be able to address and fascinate
with his tricks and demonstrations and miracles the young dreamer, that
adventurous boy who loves mystery, the mature person who is amazed
and enjoys having lived the impossible, momentary and joyful liberation of
reason-and he will have to do it (careful!) in the appropriate language for
each of them, in the language understood by the teenager, the youngster
and the mature adult, to be able to invite them all to discover, to show them
(and have them show themselves) the hidden child, the tender and magical
child that is perhaps dormant and is bored, lonely and forgotten inside.
Magic casts its spell when that child revives. That unveiling, almost at
times a resurrection, is the magic act. That's when magic appears.

ED?
 HOW 1S lT PRODUCED?

The Process of Creation and Interpretation in Magic

I believe this attempt to approach the subject can be very useful for clari-
fying ideas and can serve as an analytical tool to understand magic and its
creative process better.
Let's attempt it in a schematic way.
1. The author of a trick possesses an inner world (ideas, beliefs,
defined personality, etc.), which has been shaped by his experiences, his
character, the acquired culture (artistic, historical and philosophical) and
surroundings (his external world).
We will diagram it like this, willingly ignoring the innate, inherited part
of his character: