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Magic Advent Calendar – DECEMBER 3

Hello everyone!

This is day 3 of the Magic Advent Calendar¬†with a version of Paul Curry’s “Open Prediction”.

In 2012 I was asked to create a basic course of card magic for the Magic Agora project, a great idea for an online school of magic, which unfortunately folded after a short period – the reasons for this would make for a fascinating essay on the obscure psyche of today’s practitioners of magic and the magic market…but I won’t torture you with that ūüôā

Instead, here is one of fourteen chapters of what became Introduction to Card Magic, certainly one of the first if not the first interactive multi-media e-book on basic card magic (it is sort of Pre-Card-College). Chapter 9 deals with audience management, and is illustrated by a self-working version (if there is anything like that…) of “Open Prediction”. My open prediction is that even the very advanced among you will find this interesting, and maybe even use it, let alone those who just started out in magic!

To read the PDF CLICK HERE.


PS: If you’re interested to obtain the complete course, you can get it HERE – I put a price tag of ‚ā¨ 6.95 to it (no, it’s not a printing error) so that everyone can get it. I’m sure even experts will find the holistic approach of the course inspiring, and those among you who teach card magic will find it to be a ready-made curriculum for their course.


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Magic Advent Calendar – DECEMBER 2

Hello everyone!

Welcome to day 2 of the Magic Advent Calendar.

My Advent gift to you today is the last segment, over one hour long (!), of my first lecture at Penguin’s, the Penguin Lecture Live – Stand-up Card Magic, which runs a total of 5 hours 25 minutes!!! At the time it was a live stream, and the server broke down, as it couldn’t handle that much – I still hold the record for the longest Penguin Live lecture ūüôā Here people who attended the lecture online sent in questions via Twitter to Dan Harlan, who is a great moderator as you will see. We discuss some interesting questions related to the lecture, of course, but also independent issues, and all can be understood and appreciated even though you do not have the rest of the lecture.

To watch CLICK HERE.

If you want to see the complete lecture, you can buy the download of it directly at Penguin Magic HERE, or if you still prefer the DVD with the lovely Penguin-graphics, you can get it directly from me, signed if you wish (please mention on order form), CLICK HERE. The content is not just a bunch of very good tricks from my professional repertoire, but really a comprehensive course in the art of performing card magic in stand-up situations (parlor and small stages). This is not an expense, it is an investment ūüôā The lecture, BTW, was so successful, that the Penguins asked me to do a second one in the same year, and you can get a bundle deal (only from me) HERE.

And now enjoy!

Dan Harlan passing on questions from Twitter to Roberto Giobbi
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Magic Advent Calendar – DECEMBER 1

Hello everyone,

…and welcome to the first day of the Magic Advent Calendar!¬†

When I was a boy, on the 1st of December my parents would give me an Advent Calendar, one that depicted some colorful winter scene and had, of course, 24 small “doors” to be opened every day from December 1st to 24th, and which hid some seasonal image. Albeit of great simplicity, the little images fired the imagination of Young Giobbi, and each were like a small story – nowadays you need professional YouTube-clips to achieve the same result… Anyway, opening one of the “doors” each morning became a wonderful ritual. Later, Barbara brought the concept to the third dimension by sewing small numbered bags attached to a cord and which contained each a small goodie for our boys Rafael and Miro, who meanwhile are 26 and 28! Barbara, by the way, is not only my amazing wife, but also the gifted artist who illustrated all my books – without her there would be no Card College – so now you know who to really thank ūüôā

I forgot about that calendar (what a pity…) until recently, when I was reminded that we magicians, deep in our hearts, have retained some of those wonderful resources we had as children (…and are sharing them with our audiences through our magic). I would have loved to send you 24 bags with a magical surprise in each, but Corona and the Post Office are serious stumbling blocks. BUT what about a virtual Magic Advent Calendar? And here it is!

All you have to do, first thing in the morning (or maybe later…), is to go to and click on “News” to enjoy the current day’s “magic goodie”, which will be what I hope you’ll find to be an ¬†interesting PDF or film clip or…well, it’s a surprise ūüôā So, without further ado, here is my first little gift for you for December 1st:


In Februar 2013 The Linking Ring, the official publication of the International Brotherhood of Magicians, run out of real celebrities, so they decided to put me on their cover ūüôā In order to justify the choice, Bill Evans, then IBM’s international president-elect and exquisite connoisseur of magic, did an interview with me, which I believe is one of the better ones I ever did. We discuss some seriously interesting topics, and you might find it entertaining as well as useful. Plus they talked me into writing up their complete “Parade”. If you have the patience to peruse it, you might find a nugget or two…

The PDF-extract is reproduced here with the kind permission of editor Samuel Patrick Smith (thank you, Sammy!), and I encourage you to visit the IBM’s website HERE.

To download and read the PDF click on the image below. Enjoy!

Roberto Giobbi in Linking Ring Vol. 93 No. 2 (February 2013)



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Masterclass at Robert-Houdin Museum in Blois

Group photo of attendants to Roberto Giobbi‚Äôs two-day Masterclass ‚ÄúStand-up Card Magic for Parlor and Stage‚ÄĚ, held at the Robert-Houdin museum in Blois, France. #robertogiobbi #cardcollege #inspirational #secrettwitter #quotes #motivational #magic #artofmagic #cardmagic #cards #closeupmagic #magia #magician #magictrick #playingcards #prestigiazione #sleightofhand #askroberto

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Secret Newsletter #6: Ask Roberto, Note and Orimotos

Dear all!

Plans were to be in Italy, France and the USA in these days,¬†with shows, masterclass and a few¬†lectures. But, alas, I‚Äôm home like most of you. At least I hope this finds you and your families healthy. We are fine, privileged to live in a house with a little garden, good weather, and two libraries (yes, two!)¬†with over 6’000 books magical and otherwise, so there is not one second of boredom.

Therefore, here is an ¬ęUnexpected Secret Newsletter¬Ľ (with nod to Marlo).

IMPORTANT NOTICE: Due to the extraordinary situation in the world and especially in Europe, the borders between Switzerland and Germany have been temporarily closed. I usually ship all book orders from Germany as their rates are much cheaper. I won’t be able to do so until they reopen the borders. This affects all books orders,¬†not¬†DVDs, as I can ship those as letters from Switzerland. And of course all downloads are fine. If you have any questions, please send me an email at and I’ll answer within 24 hours.

Subscribe to Secret Newsletter and browse the previous email at

On to this month’s topic:

Ask Roberto: 

In my¬†Secret Letter #5¬†I discussed the Cull, and got some very positive feedback. Here is one that will be of interest to some readers. David McNay asked,¬†“Whilst my cull certainly needs some work, it is approaching functional, but I (and I’m sure others) struggle with the the correct stratagem if either the target card is very near the face (say positions 1-6) or if two (or more) target cards are very close together?”

I checked Card College 1 and Lesson 18 of Card College 1&2 РPersonal Instruction (the video pendant to CC 1&2) which both treat the subject, and, shame on me, I did not discuss these problems. So here are a few solutions to the problem. I suggest you follow along with cards in hands, and you will understand and learn (a universal principle).

Problem 1: The target card to be culled is at or near the face of the deck.
Solutions to problem 1: You’re holding the deck face down in dealing position and plan to cull one or several cards. Turn the deck with the faces towards yourself, but in such a way that the spectators cannot see the face-card. This is just in case the target card happens to be on the face of the deck and you did not want them to see it. (Obviously this depends from the context of the trick, for context is always king.) If the order of the rest of the deck can be upset, casually turn the deck again face down as you converse with the audience, and then¬†give it a brief Overhand Shuffle (see details of handling of how to shuffle the bottom card to the top¬†artistically on p. 253 of¬†Card College Volume 2). If the order of the remaining cards must be retained, use a Transfer Cut (chapter 6 in¬†CC1)¬†to achieve the same result.
If the target card is at position 2 from the face, you may either use the same approach as above, i.e. transfer cut it to the top, or try this, and you’ll be surprised how well it works: Start spreading the cards between the hands as you would for the regular Cull. As soon as the right hand has received the first two cards, the fingers of the right hand pull the 2nd card from the face to the right. Less than half an inch is necessary for the 3rd card and all those following to be fed between the 1st and 2nd card. Smoothly continue spreading cards. This move takes merely an instant, and if you look up and make a humorous or otherwise interesting remark (always relevant, of course, to the trick), the action will be invisibilized. But even if they watched, there would be little to see, since they usually don’t know what is coming and therefore what to look for. That’s called¬†selective perception, and is one of our big friends in the toolbox of deception.
If the target card is at positions 3, 4, 5 etc. from the face, use the exact procedure as for the regular Cull. Try it with the card at position 3 from the faces and do it slowly until you understand and learn (this is another universal strategy of learning). You will notice that the first two cards, if kept spread by the right hand, will afford sufficient cover for the culling of the 3rd card, le alone for those following.

Problem 2: Several target cards are together or close to each other. This assumes that you want to cull e.g. four-of-a-kind, or even a complete suit.
Solution to problem 2: There are various cases that allow for various solutions.
Case1: You start spreading and arrive at two or even three target cards lying together. In this case the best approach is to close the spread, obtaining a break behind the target cards with the little finger, and then casually cut or shuffle them to the back. Now start anew and cull the remaining target card(s).
Case 2: You start spreading, cull one or several target cards individually, and then hit on a group of two or more target cards together. If these happen to be the last cards you want to cull, do as above, i.e. close the spread obtaining a break behind the target cards with the little finger, and then casually cut or shuffle them to the back.
Case 3:¬†You start spreading, cull one or several target cards individually, and then hit on a group of two or more target cards together, but there are more cards after that group which you want to cull. Follow along, doing each action slowly at first, so your fingers understand: cull the first card of the group in the regular way as you extend the spread. When you collapse the spread again slightly, as you would to continue spreading,¬†treat the next target card in exactly the same way as you did with the card you just culled, i.e. simply cull it, too. And then do the same with the next card. You’ll notice that this is as easy as pie, and the only “block” you had was a mental one, the fingers can do it. Once you’ve culled the target cards, continue the spread, and then cull any remaining cards, individually or together as you did up to here. Done.

I believe that you now have all the information necessary to solve any type of problem you may run into when using the Cull. And please keep in mind,¬†“Before you practice, understand, but once you’ve understood, practice.”¬†

You can send in your own question, and I’ll try to answer it at some point. You can always write to me at, but please do not be offended, if I do not answer, as I get many requests. But I always read you emails (unless I don’t receive them…).¬†Meanwhile let me remind you that I have answered 52 questions in¬†Ask Roberto, available both as an e-book and a printed book. I recommend the e-book, which is very comfortable to read on a tablet, one question a week, for a full year.¬†Click here to see the table of content. Also remember that you can take coaching lessons via Skype (see below).

On Taking Notes & Store Them – Part 1
In¬†Secret Letter #5¬†I promised to write about how to take notes & store them. This is part of a larger talk on the subject of¬†how to study magic¬†in general. A few days ago I gave a one-hour talk for the Club Magico Italiano (CMI) on their Facebook page, and if you understand Italian, you can watch it be clicking¬†HERE. It was¬†on the subject of¬†how to read magic books and make the most of it, even if you have little time.¬†However, even with one hour at my disposal, I had to realize that¬†this is a¬†huge¬†subject, worthy of a book, or better a full-day Masterclass or a lengthy video. Therefore¬†I’ll have to split this into several parts, currently I’m planing four parts.

Reading Recommendations
Let’s start with a few reading recommendations.¬†How to Read a Book – The Classic Guide to Intelligent Reading¬†by Adler & Van Doren is just what the title promises, brilliant, but 425 pages long. For a quicker and easier read I have eight (!) essays in my (e)-book¬†Ask Roberto¬†that examine the subject from various points of view (the essays are: “4. How to Study”, “13. Creative Process”, “19. Effect Categories”, “23. Practice”, “25. Starting With Card Magic”, “37. “Navigate Info – How to Read Erdnase”, “39. Notebook & Journal”, “40. Repertoire Books”).¬†Secret Agenda¬†and¬†Hidden Agenda¬†have various days devoted to taxonomy and terminology, two important factors that show you how to¬†tag the notes¬†so you can easily¬†find them again. There you will also find plenty of entries that deal with¬†how to make intelligent notes¬†and¬†how to learn quickly and effectively. No more hints, go through the books again, you won’t regret it. Last but not least I’d like to mention¬†Andi Gladwin’s¬†Focusing on Magic, number 6 in the series of “Astonishing Essays” by Vanishing Inc.

Paper & Electronic Notes
You can take notes on paper or with an app. Important: one doesn’t exclude the other – use both!¬†We will discuss electronic note-taking in one of the upcoming parts of this series. For now here a few suggestions for taking paper-notes.

Taking Notes on Paper
Although years ago I switched to mostly taking notes with Evernote app, I also have two dozen paper¬†notebooks, some of them several hundred pages thick, which I wrote in the past 40 plus years, and which I’m still using. I only wear shirts with a breast pocket that always has a small pen in it and one of those mini-notebooks you find everywhere to¬†fit. For short notes I prefer these to the smartphone; I then transfer the notes as soon as possible to a larger paper notebook or to Evernote. The photo below shows¬†two¬†such notebooks (ca. 6.5 x 10.5 cm).

It is important to take the note¬†as clearly as possible, otherwise a week later you won’t know what it means. This is the reason why I try to¬†transfer the note within 3 days¬†to either a major paper notebook or to Evernote. Once a note has been transferred, I strike it through. Detail: I tear off the corner of the each page as it is completed, so I quickly find where to continue…
The notebooks themselves can be of different types. I like various sizes with DIN A5 preferred (4.1 x 5.8 inches). I use bound notebooks, such as the Moleskin notebooks, but also ring books and hanging fill-in to which i can quickly and easily throw any type of document (flyers, photocopies, instruction sheets etc.). If I was to start taking notes today, I would convert to the¬†ADOC Coloredge notebook system, which I assume is obtainable worldwide. Tamariz uses them, and the advantage over a bound book is that you can add, remove and translocate single pages. I’d love to do a¬†Card College Notebook System¬†that combines paper and e-functions, if I knew how…
As to how to write a note down in a notebook, I recommend you have a look at the Cornell Method, which is superb. Klick HERE to see or download the Cornell Method of taking notes РI really urge you to do this.
I did not know about it for years, but from the beginning¬†intuitively designed my notes in a similar way. The photo below shows a page from my very fist notebook, which I started at the FISM¬†convention in Brussels in 1979, and the first note is Tamariz’s Perpendicular Control. I was one of the few to whom he had taught the then unpublished sleight personally, and I practiced it throughout the convention whenever nobody was¬†watching…
As you can see, the notes are taken in a¬†generous way, large writing, with enough space between notes. When you later look back over such a page, it will motivate you to reread your notes. If it was all written in small type and compressed, as I often see others take notes who probably want to save paper, you wouldn’t want to read it again.
Leave a generous border, and similar to the Cornell Method, write in a few words (here in red, which is a good idea) what the note is about. When later leafing through the notebook,¬†you can quickly find an entry if you know what you are looking for. Notice the¬†page number at the end of the page, which you’ll need to put in by hand, a nice Zen-type exercise, and¬†very important. About¬†a dozen pages¬†before you reach the end of the notebook, start a table of contents. Here’s where you can combine the paper notebook with electronic features: create the¬†Table of Contents as a PDF, which can then be searched or automatically arranged in alphabetical order! Creating the table of contents has another big advantage: it will force you to go over each note once again and reevaluate it. Maybe you have a new insight, which you then note on the margin, or as suggested in the¬†Cornell Method,¬†in the space left empty¬†on the bottom of the page¬†(this is a very useful idea!).
OK, that’s it for today, folks. Your assignment (I’m a born teacher, aren’t I ūüôā for our next meeting is to start a notebook, if you do not already have one, and begin to take notes as explained. If you already have one, you might still be able to incorporate one or two of the ideas exposed and make better notes from now on. In part 2 of this series¬†we will discuss how to use the notebook to make notes when watching a video. Part 3 will be about how to read and annotate a written document (book, magazine, lecture note etc.). And in part 4 I shall try to show you how I use Evernote.
What Did Not Go Into The Agendas
This is a new heading in¬†this and future¬†Secret Letters¬†and contains, as the title suggests, items that did fit neither into¬†Secret Agenda, nor¬†Hidden Agenda¬†nor¬†Secret Twitter, for various reasons, but which I believe will be of interest to some of you. If I¬†write enough¬†Secret Letters, and you collect them, you’ll have a fourth¬†Agenda¬†for free!¬†I was inspired by reading a quote from Georg Christoph Lichtenberg (1742 – 1799), which translates approximately like this, “Of some important authors I would rather be interested to know what they discarded than what they chose.” I apologize for the implicit immodesty, but here we go:
Squirmy Spell
In some effects a spectator is asked to name a card, and it will then be necessary to immediately know the number of letters to spell it. How do you do this? The best way is to know them by heart, of course, by making a list, which I suggest you do anyway and store among your notes. But here is a quick fix: repeat the name of the card, as if to make sure you understood it correctly, and also to tell the rest of the audience who might not have heard it. As you do so, use your fingers under the table to count the letters. I do this by closing my hands into fists, and then stretching out one¬†finger after the other for each letter, starting with the right thumb. If the count goes over “ten”, which it mostly does, I come back to the right hand, which I closed, and then restart stretching out fingers. Easy, quick and safe.¬†(I got this from Daryl’s video series¬†Encyclopedia of Card Sleights.)
Orimotos by Barbara
Orimoto is a kind of book-origami where you cut each page of a book and fold it in a particular way so that a message or design will be visible relief-style. It is quite laborious, as each page is treated differently and by hand. Since a picture says more than a thousand words, here are a¬†few of Barbara’s magical subjects, made with waste copies of the German edition of¬†Card College (nothing less!).
In case you would like to buy one, answer this¬†email, and we’ll give you details. You should budget between $ 80 and $ 160, depending on the complexity of the design (e.g. the “MAGIC” Orimoto is much easier to do than the “JOKER” Orimoto)¬†plus¬†shipping. You can ask for your own design, and we’ll let you know if it doable and what it would cost.

Additional Information

Back Issues of Secret Newsletter

Many have asked where they could access past¬†Secret Newsletters, as in each of them I treat several important topics and answer your questions. My Webmaster Andrea Pancotti, whom I would like to publicly thank at this point for all his help and advice, has set-up a new menu item simply called “Newsletter”, which you can access over the menu bar of the webshop, or simply¬†CLICK HERE. There you can download past¬†Secret Letters¬†as practical PDFs.

Interview With Roberto Giobbi 

If you’re interested to know a little more about myself and some of my thoughts on various issues of magic, here is a lengthy interview conducted by¬†BoardGameGeek reviewer EndersGame. I suggest you use “Pocket” app or “Evernote Web Clipper” to download it and read it offline. In such cases I convert the text into a¬†PDF, which I can read anytime on the plane or in the train, and also¬†annotate¬†it or¬†extract¬†relevant text passage (this is already a preview on the subject of “How to Take Notes”, which we’ll deal with in an upcoming¬†Secret Letter). To get to the interview¬†CLICK HERE.

Wer deutsch versteht, findet hier den zweiten Teil eines Interviews, das Semjon Sidanov mit mir gef√ľhrt hat und das etlichen Usern seines YouTube-Kanals gut gefallen hat.¬†HIER GEHT’S ZUM INTERVIEW.

Want a book signed to you personally?

When you order a book or DVD from me, you can ask it to be signed to your name, but¬†you must mention this in the “comment” field of the order form, please. I do not automatically sign, as I never know who eventually gets the book/DVD.

Personal Coaching Live or via Skype
If you are interested to receive personal advice on anything related to your magic, or if you merely want to ask me questions or chat with me, you can take personal coaching lessons at my studio in Muttenz, Switzerland, or via FaceTime/Skype. It is $ 150 for 75 minutes, so, cheaper than a pimp, and I would bet with better results ūüôā¬†For details contact me¬†HERE.

TCC Chop Cup
TCC is my publisher in China, and we have already seven books together out there, which I’m told are quite successful. They will also soon release the¬†Card College Playing Cards¬†I’ve mentioned before through Kickstarter, and I’ll let you know as soon as this happens. Meanwhile, if you are interested to obtain a fine hand-made leather Chop Cup at an amazing price,¬†klick here. When I did a one-month-tour in China in OCT of last year, I had a chance to visit their premises in Shenzhen and can assure you that they create and produce some of the finest props in the industry, and their business behavior and ethics are top-notch.

The Missing Link

Under this heading I propose¬†one¬†unusual web-link, which you‚Äôll hopefully find inspiring, and if nothing else simply amusing. This one is about “Anamorphic Art Installations” by Michael Murphy, and it is a perfect metaphor for reframing, i.e. experiencing something in a completely different way if we look at it and approach it from a different angle:¬†

With a mini-projector and an empty wall or similar, you can show the clip, and then use it as a Prologue and presentational idea for a trick. This is just one of the many practical¬†suggestions you’ll find in the¬†Agenda¬†books; for details on this particular idea¬†see the entry ‚ÄúFilm Clip Prologue‚ÄĚ for February 20 in my¬†Hidden Agenda¬†‚Äď to a performing magician, this alone is worth many times the price of the book.

Let your friends know, please
If you believe that this newsletter (and those before) could be of interest to your friends, please forward this Secret Letter to them. To get it directly, they simply have to want to sign up for it HERE, where they can also download previous issues.

More on the next occasion, there are several questions of yours waiting to be answered Рtake care of yourself AND the others!

Roberto Giobbi

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What’s an “Orimoto”?

Book origami (Bookorigami, Orimoto, Art of Book Folding) is a handcraft , in which artful objects are created by folding book pages. Here there are some Orimotos from Barbara.

#orimoto #bookorigami #origami #japan #bookfolding

#robertogiobbi #cardcollege #inspirational #secrettwitter #quotes #motivational #magic #artofmagic #cardmagic #cards #closeupmagic #magia #magician #magictrick #playingcards #prestigiazione #sleightofhand #askroberto

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Guteneck (DE): Eine Masterclass in deutscher Sprache von Roberto Giobbi

Stand-up Card Magic Professionelle Kartenkunst f√ľr Salon & B√ľhne Eine Masterclass von Roberto Giobbi

‚ÄúIch liebe das √§usserlich Einfache, das grosse Komplexit√§t in sich birgt.‚ÄĚ (Miguel de Unamuno, den Ascanio in unseren Gespr√§chen oft zitierte)


Worum geht’s?

Einen ganzen Tag und Abend lang, mit Ausklang am n√§chsten Morgen, besch√§ftigen wir uns mit Kunstst√ľcken, Techniken und praktisch anwendbaren Theorien f√ľr den Auftritt mit Spielkarten vor einem gr√∂sseren Publikum.
Du musst an einem langen Tisch auftreten, wo man nur schlecht auf die Tischoberfl√§che sieht? Du bist f√ľr einen privaten Anlass engagiert, wo das Publikum im Wohnraum auf St√ľhlen und Sofas sitzt? Oder Du hast gar einen abendf√ľllenden Auftritt in einem kleineren Theater? In all diesen und √§hnlichen F√§llen bist Du das, was man bereits im 18. Jahrhundert einen Salonzauberer nannte.

Obwohl sich die Plattformen ver√§ndert haben und moderne Varianten dazu gekommen sind, bleiben die Anforderungen an den modernen Stand-up Performer im Wesentlichen die gleichen: die Techniken m√ľssen effizient und umringt vorf√ľhrbar sein, die Kunstst√ľcke gradlinig, eindr√ľcklich und erinnerungsw√ľrdig, die Pr√§sentationen zeitgem√§√ü, intelligent und auf jeden Fall faszinierend.
Stand-up Card Magic – Kartenkunst f√ľr Salon und B√ľhne ist eine Full-immersion Masterclass, in der wir gr√ľndlich und pr√§zise die Techniken, Kunstst√ľcke und Pr√§sentationen f√ľr den modernen Salonzauberer diskutieren und ein√ľben. Wir fokussieren dabei auch auf Psychologie, Showmanship, Zuschauermanagement, und all die Dinge, die man am besten in einer pers√∂nlichen Begegnung erlernt.

Was machen wir im Detail?

Wir betrachten zun√§chst, was im Salon anders ist als im vertrauten Close-up. Dann fragen wir uns, wie man mit einer gr√∂√üeren Gruppe interagiert, wie man die richtigen Zuschauerassistenten ausw√§hlt, wie wir sie zu uns nach vorne aufs Parket oder auf die kleine B√ľhne bringen, wie wir mit ihnen umgehen usw.
In der nächsten Abteilung nehmen wir das Kartenspiel zur Hand und arbeiten uns durchs technische Repertoire des Salonzauberers durch: Wie sieht das jetzt mit Falschmischen, Kontrollen, Forcieren, Palmieren, sowie mit Karten- und Spielaustausch aus? Wir erlernen die praktischsten Techniken, um jede Situation zu meistern.

Einige der Techniken und Strategien besprechen wir im Zusammenhang mit Kunstst√ľcken, die sich seit Jahren in meiner professionellen Praxis vor internationalem Publikum als verbl√ľffend, unterhaltend und erinnerungsw√ľrdig erwiesen haben. Obschon f√ľr den Salon gedacht, lassen sich zahlreiche Ideen auch f√ľr den kleinen Zuschauerkreis und sogar sitzend am Tisch einsetzen.

Ist das etwas f√ľr mich?

Diese Masterclass richtet sich an alle, die mit einem ganz normalen Kartenspiel stehend vor einer kleinen oder größeren Gruppe von Zuschauern auftreten, oder einfach nur ein besseres Verständnis der Zauberkunst erlangen möchten (man muss nicht auftreten, um sich an der Zauberkunst zu erfreuen).
Du erlernst nicht nur neue Tricks und Techniken (das nat√ľrlich auch!), sondern erwirbst auch Kenntnisse dar√ľber, wie Du eigene Kunstst√ľcke und Pr√§sentationen entwickelt, wo Du weitere Salonkunstst√ľcke findest, wie Du Deine Close-up-Kunstst√ľcke f√ľr den Salon aufbereitest, wie Du effizient √ľbt, auch wenn Du wenig Zeit hast, und vieles mehr, das sich aus der Beantwortung der Fragen von Teilnehmern ergibt.

Standup Card Magic ist nicht einfach nur ein langes Seminarwochenende, sondern ein richtiggehender Kurs, der professionelle Kartenkunst mit Spielkarten im Salon lehrt. Damit brings Du Deine Kartenkunst auf die nächsthöhere Stufe, vor ein grösseres Publikum und wirst bessere Gagen erzielen können.

Vorkenntnisse (Grosse Kartenschule 1&2) sind n√ľtzlich, aber nicht Bedingung.

Was muss ich mitbringen?

  • Close-up Unterlage
  • mehrere Kartenspiele
  • Jackett

Fast h√§tte ich’s vergessen…

Es besteht kein Vorf√ľhrzwang, man kann alle Einheiten auch ¬ępassiv¬Ľ genie√üen und einfach einen intelligenten Einblick in die Kunst des Zaubers gewinnen. Aber wer will, kann am SA-Abend in der Je-Ka-Mi-Show etwas vorf√ľhren (es muss kein Kartenkunstst√ľck sein, aber es darf‚Ķ), und am Abend selbst eine private ¬ękonstruktive Kurzkritik¬Ľ erhalten bzw. im Plenum am SO-Morgen. Ich empfehle das sehr, denn da k√∂nnen alle etwas daraus lernen!).
Wer jetzt noch wegen der Finanzen z√∂gert, sollte sich klarmachen, dass im Industriebereich Seminare auf diesem Niveau das zehnfache kosten. Zudem sollte man stets unterscheiden zwischen einer Ausgabe, die nicht mehr zur√ľckkommt, und einer Investition, die sich ein Leben lang mehrfach auszahlt.

Zur Person

Roberto Giobbi wird am 1. Mai 1959 in Basel geboren. Nach einem Studium der Literatur- und Sprachwissenschaften arbeitet er als Dolmetscher und √úbersetzer. 1988 macht er sein Hobby zum Beruf. In der Zauberwelt ist er eine der gefragtesten Stimmen zu Theorie und Praxis der Zauberkunst geworden.
An den Weltkongressen der FISM, dem Weltdachverband der Zauberk√ľnstler, gewinnt er 1988 und 1991 den Titel eines Vizeweltmeisters in der Sparte Kartenkunst. 1990 ist er an den Schweizermeisterschaften der Zauberkunst deren erster Grand Prix Gewinner (Sieger aller Sparten).

Er publiziert Artikel und Essays √ľber die Zauberkunst in Fachzeitschriften in Europa und √úbersee. Von ihm sind unterdessen √ľber siebzig B√ľcher erschienen, einschlie√ülich deren √úbersetzung in acht Sprachen (weitere sind in Vorbereitung). Sein f√ľnfb√§ndiges Werk Gro√üe Kartenschule gilt weltweit als Standardwerk der Kartenkunst und ist die am weitesten √ľbersetzte Zauberbuchreihe in der Geschichte der Zauberkunst.

Roberto Giobbi ist Mitglied der Escuela Magica de Madrid, einer modernen Denkschule der Zauberkunst, der weltweit 40 Mitglieder angeh√∂ren. 2004 drehte das Schweizer Fernsehen einen Dokumentarfilm √ľber ihn und seine Zauberwelt, Il giardino dei giochi segreti ‚Äď The Secret World of Magic.

1987 ernannte ihn der Magische Zirkel von Deutschland zum Schriftsteller des Jahres und w√ľrdigte damit seine langj√§hrige schriftstellerische T√§tigkeit.
2012 erhielt er von der Academy of Magical Arts (AMA) in Los Angeles den Literary Fellowship, den Oscar f√ľr fachschriftstellerische T√§tigkeit.
2014 verlieh ihm der Magic Circle of London deren h√∂chste Auszeichnung f√ľr einen Fachschriftsteller, den John Nevil Maskelyne Award for Literature.
2015, am Weltkongress der Zauberk√ľnstler in Rimini, wurde er mit deren Auszeichnung auf Lebenszeit Theory & Philosophy geehrt. Preistr√§ger vor ihm waren Tommy Wonder, Juan Tamariz und Eugene Burger.
2017 erhielt er vom Magischen Ring der Schweiz (MRS) den Magischen Ehrenring der Schweiz f√ľr herausragende Leistungen in der Zauberkunst.

Shows rund um den Erdball, sowie TV- und Radio-Auftritte in der Schweiz, Italien und Spanien runden sein Profil ab. Seine Performance sowie seine Vortr√§ge √ľber T√§uschungspsychologie, Pr√§sentation und Kommunikation gibt er in sechs Sprachen, die er flie√üend spricht.

Er lebt und arbeitet als freischaffender Zauberk√ľnstler, Seminarleiter und Fachschriftsteller in Muttenz, bei Basel.


  • 07. & 08.03.2020
  • Teilnahme-Geb√ľhr: 350,00 ‚ā¨
  • Abendessen und √úbernachtung nicht enthalten
  • Information & Anmeldung:

Masterclass Teil 1 Samstag

  • Beginn: 10:00 Uhr
  • Ende: ca. 00:00 Uhr
  • Ganzt√§giges Event

Masterclass Teil 2 Sonntag

  • Beginn: 10:00 Uhr mit gemeinsamen Brunch
  • Ende: 13:00 Uhr
  • Inklusive alkoholfreier Getr√§nke und Snacks

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Workshop e Lecture in Torino, Italy #torino #cadm #amicidellamagia #lecture #robertogiobbi #cardcollege

Two events in Torino, Italy, Lecture the 8th of november 2019, and Workshop the 9th of november 2019, it will be in Italian Language.

8/11/2019, Torino, Conferenza di Roberto Giobbi ‚ÄúCome studiare un gioco di prestigio‚ÄĚ

9/11/2019, Torino, LA MAGIA √ą NELLA MENTE Workshop di Roberto Giobbi

@roberto_giobbi #torino #cadm #amicidellamagia #lecture #robertogiobbi #cardcollege #inspirational #secrettwitter #quotes #motivational #magic #artofmagic #cardmagic #cards #closeupmagic #magia #magician #magictrick #playingcards #prestigiazione #sleightofhand #askroberto

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The Art of Switching Decks back in print!

You can find it on my website at or directly from Penguin Magic!

Here it is the email from Penguin:

And you know what? It’s worth every penny! ¬†It’s powerful stuff. I mean, just look at what James Ward said:

“I personally feel the price is more than fair. I would pay even more for this kind of info.”¬†–James Ward

So hey, there you go. Maybe it¬†should¬†cost $5,000 😂

“Wow! I don’t need to buy any more gimmicks for switching decks,”¬†–Nicolas Mathieu

Wow, that’s some real value.. ¬†Ok, truth is you won’t have to pay $5,000. Heck, you won’t even have to pay $500. ¬†It’s back in print, baby! DVD Included!

Roberto Giobbi’s masterclass on switching decks. ¬†Out of 160 ways he knows to switch a deck, these are the 32 best ways that, combined, give you the incredible power to make¬†any card trick “examinable”