VIDEO TEACHING FROM JUAN TAMARIZ, JOSHUA JAY, DARWIN ORTIZ, MICHAEL AMMAR, DANNI DA ORTIZ, DARYL, DAI VERNON AND MANY MORE - LEARN FROM THE BEST
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    Juan Tamariz - A Master

    Juan Tamariz - A Master

    THE PERSONAL LIFE OF JUAN TAMARIZ

    Juan Tamariz (Juan Tamariz-Martel Negrón) was born and raised in Madrid, Spain on October 18, 1942. Tamariz developed a passion for magic at the age of 4 after his parents took him to the theater to see a magician.

    At the age of twelve, Tamariz began to learn magic in books, and became friends with many magicians of the "Spanish Society of Illusionism". Young Tamariz had a lot of magic mentors including Arturo de Ascanio, a talented magician who designed and created a number of magical effects.

    JUAN TAMARIZ SPECIALTY

    • Cartomagie

    HIS APPROACH TO MAGIC

    Juan Tamariz experiments with the arts related to magic: acting like a clown, puppeteer, he even made a brief passage in a circus. At age 18, the young Juan began the career of Physical Sciences, which he left after four years (of the five that made up the career) to go to study at the Film School. Although he did not get to graduate, during its time as a student he directed two short movies: Death SA and the Spirit, in '67 and the '69 respectively. Later, he applied his knowledge of the film and used it in his presentation of magic. But, regardless of his studies, Tamariz always says, he was born being a magician. As a child at Christmas he always had magic games, and he knew that there was his future and his passion.

    Magic is not only part of his professional life, it also filled his heart.  In 2008, Juan Tamariz got married to Consuelo Lorgia, with whom he shares a scene in his most recent tours and in queimadas with great success in the public. Every time that Consuelo Lorgia and Juan Tamariz enter the scene they fill with their charisma, their styles are elegant and charming, and they make classic effects remembering that golden age of magic in the best stages of the world.

    He landed a job in advertising and the production of commercials. He discovered that some of the techniques he used in the commercials were like magic especially psychology and perception. However, he was not particularly interested in using these techniques to sell products, so he left in 1970 working to focus solely on the art of magic. Tamariz, who led a simple life at the time, could not afford great stage illusions, so he turned to the art of close-up conjuring mainly in the field of card magic.

    In the 1970s, he was invited to perform in Buenos Aires where he played on television. His show was a huge success, which led to subsequent contracts. He was subsequently invited to Spain and South America. Juan Tamariz introduced himself to FISM in 2006, and with Arturo de Ascanio, he directed the "Escuela Magica de Madrid" a school of close-up magic that produced and awarded many FISM magicians and deeply influenced the art of magic around the world.

    ABOUT JUAN TAMARIZ WIFE (CONSUELO LORGIA)

    Consuelo Lorgia is a wonderful and prestigious Colombian magician, daughter, sister and mother of magicians married to Juan Tamariz.

    She has obtained Magic prizes in the Congresses of Mexico and Brazil. He acted in TV shows "123", El Hormiguero, Buenafuente and Caracol TV ... and currently collaborates in the show of Juan Tamariz with his own Magic numbers. Its magic has been seen in various countries from Italy to Germany, from Las Vegas to Los Angeles, from Colombia to Canada, from Morocco to Paris, Hong Kong, Copenhagen...

    Specialist in Magic for families (adults and children from 2 to 99 years) that seduces with his show "Magic with Charm" that is currently presented in various theaters of Madrid, Barcelona, ​​Seville, Cadiz, San Sebastian, etc.: one hour of visual effects, full of color and charm: silk scarves, flowers, multicolored balls with much participation of the children's audience, generally very funny games, and, whenever possible, a Great Illusion).

    CLICK HERE TO LOOK AT ALL DOWNLOADABLE TAMARIZ PRODUCTS

    JUAN TAMARIZ: A GENIUS MAGICIAN

    As a cartomaniac, Juan Tamariz is highly respected as "Misdirectionneur in Chief". He is regarded by magicians as the greatest master in the art of diverting attention. He also created a system called "Methodo symbolico", to discuss magic through language barriers, and is an important figure in the Escorial convention. He became so successful in his native Spain that he was commissioned to write five books in English: The Five Points in Magic, The Magic Way, Sonata, Mnémonica, and Verbal Magic.

    In his book "The Magic Way", Juan Tamariz explains what are the ingredients that allow to build a tower so that it turns into a true miracle. The mere availability of a piece can turn into a true miracle! A simple theory that analyzes in a complete way these mechanisms that leads to the magical effect.

    Juan Tamariz is a unique artist, who marks the magical life in Spain and influences the magic world. He does not content himself with writing tricks, he comments on them, explains them, it is the path of his thought and his talent that one discovers through these books.

    Juan has developed a true philosophy of magic in Spain. There is a 'Spanish School', and it is thanks to the generosity of great magicians like Tamariz and Arturo de Ascanio that Spanish Magic is one of the best in Europe.

    Juan Tamariz is globally known among magicians as a true master of his art, and one who generously shares his time and knowledge, both in print and in person, with the magical community. Juan Tamariz is one of the greatest and best illusionists, numismagos and cartomagos in the world. His imaginary violin, his hat and his wonderful sense of humor are his hallmarks.  His motto is "Magic, Love, Freedom, Humor, Magic, and the rest is nothingness.”

    In 1973, having already won several national awards, Tamariz jumped to the international arena by proclaiming himself winner of the World Cardomagia Prize at the World Congress of Magic, held in France, with his INCREDIBLE presentation known as The Paris Number.

    Juan is one of the magicians who have made the most contributions to the world of illusionism. His theory of the psychology of the spectator stands out above all things, and he has written publications about it for more than forty years, which have been translated into five languages. To his credit there are twenty books, since '69 when he published Coins, coins and ... Coins, in which he shares his wisdom, routines and theories. His latest book, Por arte de verbimagia, was published in 2005.

    After this, the string of awards that accumulates to Tamariz is are unnamable, but he has never given importance. Quite the opposite: he always says that "the prizes he has won have been bought with hams". In addition, Juan Tamariz is a teacher who teaches and teaches seminars at the universities of magic and travels around the world. His eclectic curiosity and his penchant for teaching make him an authority on the history of Magic and one of the most extraordinary living practitioners. He has performed in Chicago, Tokyo, Paris, London, Bogotá, Cairo, New York and Santiago de Chile.

    Over his career, he has appeared in numerous television programs, like “Buenas Tardes”, “Tiempo de Magia”, “Un, dos, tres… responda otra vez” and “Chantatachán”. In all of these programmes, he has performed his comic pieces of magic and illusion. He has also brought magic to the little ones in the children’s program called “El Recreo”.

    The contributions of Tamariz to magic have an incalculable value. He is the creator of a lot of games and routines, as well as techniques and magical passes. Among them, is the creator of the method of false tracks, according to which a game must be presented in such a way that even the desire of the spectators to analyze it is eliminated, so that the magical sensation is enhanced. This theory was published and explained by Tamariz in his book The Magic Way.

    Enter the world and the philosophy of Tamariz and you will come out with a new vision of the Magic Art 'as much for the general public as for the magicians, Juan is probably the most popular and brilliant personality in the history of Spanish magic.

    AWARDS

    • SEI Magic Comic 2nd Prize (1962)
    • SEI Cartomagie 2nd Prize (1962)
    • Second Prize for Card Tricks at the Amsterdam World Congress (1970)
    • FFAP Micro-Magic 1st Prize (1971)
    • SEI Grand Prix Grand Prix (1972)
    • World Card Tricks Champion at the Paris World Congress (1973)
    • FISM Close-up Cards 1st Prize (1973)
    • Mandrakes of Gold Golden Mandrakes Winner (1990)
    • Golden Mandrake Award, Paris (1991)
    • US Academy of Magical Arts Magician of the Year and Professional Magic Grand Prize, Washington (1993)
    • Golden Mandrakes Golden Mandrakes Winner (2001)
    • FISM Special Awards Theory & Philosophy (2009)
    • Gold Medal for Merit in Fine Arts (2010)

    ARTY OF JUAN TAMARIZ

    • Style

    Juan Tamariz plays a fulsome, high-spirited, comical and offbeat character, on the verge of madness. His Spanish accent enhances the comic effect.

    • Technical

    Juan Tamariz is first recognized for his mastery of his art, in its technical and psychological dimensions. A great technician of cards, he manipulates without flamboyance. He is known for certain powerful and original techniques but also for his memorized game (Mnémonica), which many think surpasses all those who have been imagined for several centuries.

    He publishes a large number of articles in magical journals from all over the world, some of which are intended for learning magic and others for experienced and professional magicians.

    • Theoretical-practical thinking

    The written work of Juan Tamariz constantly combines practice and theory, in the line of Arturo de Ascanio, from which he takes up the main concepts: parenthesis of forgetfulness, obsessive question, action in transit, actions of apparent continuity, anti-contrast parenthesis etc. Among the books of Tamariz, this one distinguishes two major series, each composed according to a ternary structure. First series (where techniques and routines are exhibited and whose titles pay homage to musical forms): 1 / Sonata, 2 / Mnémonica (Symphony in Major mnemonic), 3 / Flamenco (forthcoming). Second series, in which the theoretical aspect is put forward and that Tamariz considers as its essential contribution to the magic art: 1 / the 5 magic points, 2 / the magic path, 3 / Rainbow (Arco Iris, forthcoming).

    CONCLUSION

    With 75 years of age and a whole life dedicated to illusionism, Tamariz seems that the years do not pass, because it is just as fantastic as when it filled our living rooms with laughter and fantasy. And despite everything that has been said, we are still very far from being able to 'explain' Juan. I am certain that his personality is the Essence of all that is Secret, a personality devoted to the service of Magic for many years.

    Top 20 Tips on Performing Magic

    Top 20 Tips on Performing Magic

    TOP 20 TIPS ON PERFORMING MAGIC IN PUBLIC!

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    1. NERVOUS ENERGY IS GOOD ENERGY 

    social anxiety

     

    You will get nervous and anxious before you perform — one of the best ways to overcome anxiety and nervousness is to USE the energy that your body generates as a result of you being so nervous.

    Your body produces a loads of chemicals when we anticipate something we’re afraid of… and this actually results in an increased amount of adrenaline and energy. The brain needs these chemicals in a heightened state.

    Do not be afraid of this! Most people are too busy being afraid to actually think about channeling their anxiety into energy, enthusiasm and positive thoughts. You can use that energy, it will always be there, even when you become confident. Nervous energy is your magical friend.

    2. BE PASSIONATE ABOUT YOUR MAGIC

    The best and most natural magicians love their (and all) magic.

    When it comes to performing your passion must be equal to the effort that success demands. Have enthusiasm and want to amaze. Simply put, if you are not motivated and passionate, why are you standing there?

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    3. KEEP ON PRACTISING  

    NEVER STOP PRACTISING, a badly performed effect is just unforgiveable. Set aside time to practice, try it out on friends and only do what you are confident in doing. On a continual basis go through the whole routine, not only the “moves”. If you don’t practice, your anxiety will be much worse than it would be if you had.

    4. UNDERSTAND YOUR MAGIC

    Make sure that you are very familiar with every aspect of every effect that you perform do. Read up about the effect. Do not watch a teen giving lessons on YouTube, but if it is a mentalist effect and there is footage of Max Maven, watch that (I think you know what I mean here). Learn from the Pro's!

    5. THINK ABOUT HOW YOU ARE GOING TO USE YOUR PROPS

    A well made prop can help as a “crutch” if you are a nervous performer. Make sure your handling of the prop is done with confidence. Having a good prop, that is interesting to look at can help you reduce the feeling that everyone is watching you. It does work, spectators will look at the prop and free you up.

    6. DEEP BREATHES TO START

    This is actually very important and you should get into a routine of doing it before you step up:

    Breath in deep through your nose (inhale),

    Release slowly through the mouth (exhale)

    Do this roughly 10 times before you begin

    Focus on your breath while you do this. It helps. Big time.

    7. FEEL LIKE THEY ARE PRIVILEGED TO WATCH YOU

    Act as though they owe you cash, feel like they want you to succeed, they are on your side. You are the in charge, the performer that they want to see. Just feel in control and yes your whole mental attitude should be – these people owe me big time!

    8. NIKE IT

    Just do it. Confidence grows over time and over performances you must take the attitude of just getting up there and doing it. Practice, over time, will tame fear.. Remember that even experienced public speakers get anxiety, but they have the "Just Do It" attitude.

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    9. MAINTAIN FOCUS

    Your focus must be on your audience and their reactions. Be laser focussed on giving them the best show every single time.

    10. REMEMBER YOU ARE AWESOME

    You’ve prepared to the best of your ability.  You do something very few people can!

    A great state of mind, is a habit and initially you must force yourself to get into this positive habit, after a while it will come naturally to you.

    Google “The power of attraction”, and you will see that what you Think, Say and Do will affect everything in your life. No more negative thoughts.

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    Top tips for performing Strolling (street) Magic

    Download the video - The Business of Street Magic by Will Stelfox 

     

    11. Location Location Location

    When performing for the public then always make sure you know the area well and that you are not in a risky environment. Do not go to dodgy areas end of story. There have been stories of magicians choosing the wrong area and getting robbed and roughed up. You can get so many different reactions from your audience so you need to be somewhere safe, preferably somewhere where there are lots of other people around.

    12. Be careful with props

    If you do anything with fire or with borrowed goods make sure that you have some form of Public Liability Insurance. Do not do anything that might damage a borrowed item of value (this does happen).

    13. Be personable and approachable

    It is important that you have fun yourself. If you don’t allow yourself to have fun, how are your spectators to have fun? Make sure you smile and that you are personable. Be kind, pay people compliments, maybe address how weird this situation is in a friendly way way.

     Make people feel at ease and part of the entertainment, let them know the next couple of minutes will be enjoyable. If you are very nervous and quiet, looking down at your props rather than making eye contact then you run the risk of making them feel uncomfortable. Spectators that feel akward will not give you a good reaction, and that may make you lose confidence a bit in what you are doing making the next approach harder. It can be a downwards spin. So make sure you are personable and approachable and get them on your side.

     

    14. Put yourself in their shoes What Would You Do if someone walked up

    For a moment think of what you would feel like if someone walked up to you and approached you how you are approaching people. Would you feel uncomfortable? 

    It is a good idea to spend a bit of time thinking about the approach technique you use. Is it to brash? Is it intrusive?

    Your aim is for people to feel relaxed and say "Cool show me a trick" So think about it and change your approach if required. When you have broken the ice with some people it might be good idea to do a bit of "customer research" and ask them how they felt when you approached.

    15. Respect your audience wishes

    It is important that you be aware of your audiences and be respectful of their wishes. Do not force magic on someone who does not want to see it. If someone is looking slightly uneasy then be sure to reassure them. You may wish to perform a trick with an item like a ring that you borrow or a borrowed banknote, if someone obviously does not feel like they want to let you perform with what you have asked for, move on use something else. However you will find that if you are personable and make people feel at ease with you then you will find that even the most disagreeable person relaxes.

    16. Have tricks that you can cut short - not long and complicated 

    Cruel stuff does happen, phones will ring, people can suddenly be aware of the time, they may even have a friend recognise them in the street and interrupt you. Be mindful of this, so try and do sets of tricks that are quick and can be cut off at any point, try to avoid routines that have something happen and then you do 5 other tricks before a big reveal as they may need to leave before the reveal happens. For example if you have vanished their banknote and you are going to have it appear inside something that you produce at the end of the routine make sure your method allows for you to have it already to go at any point. 

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    17. Your opening trick is Vital!

    If you can capture your spectator’s attention and make them hang around by performing a good opening trick that is something quick and snappy, then that is awesome. This does not go for all performances but it can certainly help with quick street magic performances. Show your audience that you are worth their investment of time and that it won’t be time wasted.

     

    18. Make sure you are prepared and know what it is you are going to do

    It is essential that your performances go smoothly. Really work out your pocket management, know what tricks you will perform and how you will perform them. If you are unprepared and can’t find, for example, a Sharpie, then two seconds later you cannot find a lighter or the correct prop you will lose your spectator’s attention and they will begin to feel like they are wasting their time. Of course how you address them can make all the difference but in general if you are interrupting someone’s day then the least you could be is prepared! By doing this it will make your performance stronger too. Seamless transitions from effect to effect or minimising dead time whilst you search for something will all help to keep your spectators in that ‘wonder bubble’ where they are not thinking of the time or where they have to be, you are simply helping them stay in the ‘moment’.


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    19. Unless asked try to keep it to a set of three effects for maximum impact

    It can be very easy to get carried away when performing and keep wanting to show just that ‘one more trick’. It is always better to leave them wanting more than to over stay your welcome. Try to keep your sets to a limit of three tricks. Pepper as much magic throughout such as making Sharpies appear or vanish, decks vanishing or sudden moments of magic like a neck cracker; but always keep the sets succinct and to the point. Unless they are begging you to show more (in which case you should show just one more… maybe!) then be aware that the moment you stay to long is the moment you go from amazing and enthralling to ‘not as important as the other things I have to do’.

    20. Be Gracious to and appreciative of your audience.

    Be gracious to everyone who stops and gives you some of their time, if they thank you and are happy you stopped them, thank them back, after all, without their time you would not have had the chance to perform anything. Also do not be rude to anyone who doesn’t want to see magic, if they stop even for a moment to hear what you have to say then thank them and wish them well on their way. Remember that without spectators magic is nothing, it is just moves and sleights you have learned, you will not see the magic, only a spectator can so if anyone gives you the time of day to watch what you have practiced then you should be thankful and appreciative of their generosity with their own time. If you think about it, time is the most valuable thing we have and to share that with a stranger on the street really does mean a lot.

     

    Always keep improving your knowledge and Magic skills

    Books and videos are a good way to start. We recommend that you start of with easier self working magic before you decide what your niche is within the magic field.

    Join a magic club or group online.

    Do not get taught by amateurs on Youtube, this will harm you progress in the long run.

    Magic Grand has over 2000 videos and eBooks available available immediatelymagic_grand_logo

    Read Reviews

    Before buying magic tricks, books, or videos, read reviews and get valuable opinions. Generally, books provide the best value, because they offer the most techniques and tricks for the price.

    Videos may cost more than books, and provide fewer tricks, but they let you see an effect in action. Visual learners will likely find an effect easier to learn through video than reading.

    Go to a Magic Shop

    It's common to have the impulse to go to a magic store and buy a variety of effects to learn.

    Get in with the Community

    Getting in touch with other magicians is a great way to freely show your new effects to others without having to worry about failure and exposing secrets. In fact, other magicians can provide you with valuable feedback, you can learn from them.

    Societies like the The Magic Circle, International Brotherhood of Magicians and Society of American Magicians are a good place to network. You can spend hours online at The Magic Cafe, post questions and learn a lot.

    Develop a Good Baseline Technique

    Those serious about learning magic will want to develop a basic technique. To get started on a foundation, learn all you can from the resources available at Magic Grand.

    Loops or Invisible Thread

    Loops or Invisible Thread

    Using Invisible Thread or Loops can be an extremely rewarding experience. A lot has been written and filmed and the effects possible are numerous. There is an inherent problem with Invisible Thread and that is that many people are aware of it’s existence and, to some degree, know how using it looks. So it is is highly recommended that when you do venture down this road, you think carefully about what you will be performing.

    A common effect floating currency. Now to “crumple” up a note and let it remain suspended between your hands for a few seconds and then unfold it and carry on, is somewhat underwhelming. Especially if you are fiddling around beforehand and taking special care when folding or scrunching up the note. A lot better way to approach this would be to use the note in some effect and add the levitation as part of the overall effect.

    Use thread as an invisible touch or to move not just levitate objects. Think out of the box.

    Invisible Thread moves into the “brilliant” zone when care is taking during the “hooking up” process. If it looks like there is no way that you are manipulating the levitated object or that it looks impossible that anything can be attached to the object, then you have a miracle.

    When working with Invisible Thread there are some ingenious reels that can control the thread from the basic reel (thread Boss, mini thread Boss) to the Yigal Mesika superstars – Tarantula and Spider Pen (both are UBER amazing)

    Certain thread (Loops, Infinity, Invisible) are elasticated and others that use thread reels or electric motors (Tarantula and Spider Pen) are not.

    What do I choose – Invisible Thread or Loops ?

    In the long term Invisible Thread are the better option then Loops. You can do a lot more, you can (after a lot of sweat and tears) learn how to tie your own Loops and it is a lot cheaper.

    BUT, and it is in Caps for a reason, Loops are the best way to start when working with thread. They are easier to get going and do Magic in a short while. They are easy to slip on and off and to carry around. Loops will snap, but if you break them in (loop around your hands and stretch them gently for a couple of minutes) and if you are aware of their limitations, they will last for a fairly long time. The New Improved Loops come with 8 bands and are the same price as the older version when you got only 5.