From Tristan’s book“School of Magic“.
The art of magic is divided into categories. Important representatives of the field have tried to classify these categories, but have not – in the end – succeeded in establishing a widely accepted model. This is perfectly logical, since we are talking about genres that contain related and interrelated elements.
So, drawing inspiration from previous attempts, I will present my own classification. The main criteria of this classification are: Space, size, subject matter, technique and theatrical or presentation style. To begin with, we could divide the art of magic into two major categories, with their necessary subcategories and their types.
The First Category is formed on the basis of “external” criteria, such as the conditions and size of the space, the objects, and the audience where the presentation takes place:
1. Stage Magic (Stage Magic)
Performances performed on stage for a large number of spectators. Theatres, concert halls, school auditoriums, etc.
2. Parlour Magic (Room Magic)
Performances that take place on a stage or in a fixed place (Notional Stage), in medium-sized venues and audiences. Salons, bars, small halls, etc.
3. Close-up Magic (Contact Magic)
Techniques performed at close range, for a limited number of spectators or even for one person (One on One). Restaurants, cafes, nightclubs, etc.
4. Micro Magic (Micro Magic)
Magic performed in close-up conditions, but using -especially- tiny objects. Small coins, buttons, paper clips, etc.
5. Street Magic (Street Magic)
Presentations that take place exclusively on the street.
The Second Category is formed on the basis of “internal” criteria, such as theatrical style and presentation technique:
1. Mentalism (Mental Magic)
Presentations on metaphysics, psychology and the human mind. Predictions, submission, mind reading etc.
2. manipulation (Manipulation of Objects)
Illusions, which are achieved with the main axis of skill and have as their main characteristic the continuous flow of successive effects and not a single trick. Appearance – disappearance of playing cards, coins, etc.
3. Escapology (Escapades)
Trials in which the magician must escape from a trapped state, usually within a certain time limit. Escape through an aquarium, from a straitjacket, etc.
4. Grand Illusions (Grand Illusions)
Magical illusions performed through large constructions, which are -usually- the backdrop of the presentation. Appearance – disappearance of a man, cutting of a woman, etc.
There are also categories that refer specifically to the object of use: card magic (Card Magic), Coin Magic (Coins), Rope Magic (Rope Magic) etc. Other times, they refer to the style.Comic Magic), Spooky Magic (Spooky Magic.) etc. Often, we even come across magic tricks that are categorized – thematically – by seasons, such as Halloween Magic ( Magic for Halloween), Christmas Magic ( Christmas Magic), depending on the identity of the audience, such as Kid’s Magic ( Magic for Kids), Church Magic (Church Magic) or even by the medium of display used, such as Virtual or Online Magic etc.
Each category is subdivided into species. For example – in the first category – Close-up is divided into modes of presentation, such as Stand-up(standing in a fixed position, addressing a small or medium audience), Table Hopping(approaching groups of seated spectators, from table to table), Strolling(approaching groups of standing spectators), etc. The same logic applies to the second category. That is, Card Magic is subdivided into genres such as Gambling(cheating techniques in card games.), Cardistry or XCM(juggling demonstrations with cards), etc.
The list of categories and species, could be continued and analyzed indefinitely, but this is not the purpose, nor the subject of this book. Besides, nowadays we encounter a constant mixture of categories and genres, resulting in hybrid combinations such as. Therefore, the categorization can depend, not necessarily on the mechanisms of realization of a magic effect, but also on the general context and orientation of the style of presentation.