Gabi Pareras Philosophy
by @bardsilver on Brave-Smoke's Corner
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Gabriel Pareras Fusté, Gabi, is considered internationally as one of the greatest references of magic of his time. He was specialized in close-up magic, especially with cards, although his technical and theoretical knowledge, his contributions and his vast repertoire encompass all branches of illusionism. Writer of numerous essays and books, he dedicated much of his adult life to promote, teach, and research the fine art of magic.
As an avid reader and scholar of magic and other disciplines such as philosophy, psychology, arts, or neuroscience, his brilliant contributions in the field of magical theory and philosophy stand out. His work have inspired and continue to inspire magicians all over the world. He is the father of the so-called Fictional Magic (so often misunderstood), his personal conception of magic. He himself was very critical of “armchair theories”, referring to inconsistent observations and arguments without a solid foundation. He was not very fond of a dogmatic and inflexible understanding of magic neither. All of his magic conception and philosophy were developed as an answer to the concerns, troubles, and limitations that he himself found “on stage” while performing, and as he explained, a large part of the answers were found outside of magic. Within his own field he gets inspiration from and builds upon the work of other referents of magic from the Magic School of Madrid such as Juan Tamariz, Pepe Carrol, Luis García, Camilo Vázquez and especially Arturo de Ascanio, to whom his book “The ever-going refinement of the very same” is dedicated.
As a creator of magic effects, he has contributed with original effects, highlighting the emblematic “Coleridge’s Flower” or “Suggestion”, as well as with his interpretations of many other effects and classics such as “Caroline Aces”, “The Restless Lady”, “Centaurs and mermaids“, “the Chop Cup“…
As an interpreter he was gifted and graceful, regardless of the elements at play; cards, coins, balls, or ropes or any other, his handling was fluid, plastic and almost hypnotic.