At the top of Europe

After years of intense preparation, I participated in the FISM European Magic Championships last May in Italy. This article is an opportunity for me to reflect on this incredible adventure.

 

Preparation

After attending the Close-up Magic Symposium in October 2023, I was confident that the version of my routine, which I had been working on for seven years, had a good chance of shining in the competition.

The FISM scoring system is quite unique. Judges evaluate our routine, which can last up to 10 minutes, based on various, fairly subjective criteria. They score our routine out of 100 after our performance. Depending on this score, we can qualify for different prizes (+60/100 = 3rd prize, +70/100 = 2nd prize, +80/100 = 1st prize).

Having scored 65.8/100 at the 2021 European Championships, earning a 3rd prize, and 68.29/100 at the 2022 World Championships (placing 9th overall), my goal this year was primarily to improve my score compared to previous participations, with the reward being somewhat secondary. I was confident that I would be rewarded; the question was the “color of the metal.”

Unlike my previous competitions, I had the opportunity to perform the routine in public several times before the contest this time. In magic competitions, especially at the FISM level, the routines that stand out are always those that have been rehearsed and tested multiple times in front of an audience. Performing a magic routine perfectly alone in front of a closet door is entirely different from doing it in front of a real audience. Stress reduces our abilities, reactions can be unexpected (both good and bad). The rhythm of the routine can only be adjusted in front of an audience.

Rehearsals in Paris, 02/05/2024

Rehearsal in Denemark, 17/05/2024

This year, in addition to my personal practice (3 to 5 rehearsals per day) and just a few days before the competition, I had the chance to present my routine publicly at the legendary 4F convention in Buffalo, with the French close-up team in Paris during a public rehearsal, and twice in Denmark during my lecture for magicians. These performances allowed me to identify weaknesses (both technical and narrative) early enough to correct them before the big day and to familiarize myself with the reactions of a magician audience.

 

Departure

Living only a two-hour drive from Saint-Vincent, organizing the trip was much less stressful, without fearing luggage loss on a flight. We decided to leave with Yoann, a friend from the Haute-Savoie Magic Club, on the morning of Wednesday, May 22, from Annecy, to arrive on-site well in advance for rehearsals (that same afternoon). The first moment of stress came on Tuesday evening, May 21, when Yoann called to say that a professional issue might prevent him from leaving with me the next morning… Fortunately, the doubt was resolved the next morning, and we set off calmly.

 

Arrival in Saint-Vincent

Arriving in Saint-Vincent in the middle of the day was very pleasant. We were warmly welcomed by the owner of the beautiful Airbnb located in the heart of the village. We took the time to stroll through the Italian streets, enjoying the famous “calm before the storm.” It was also an opportunity to start meeting many magicians who had come to compete or simply attend the convention.

We then discovered the congress venue: the Grand Hotel Bilia. A dream location with a superb auditorium, a basement filled with trick dealers, and several photo booths scattered in the entrance hall.

 

Rehearsal

This is always one of the most stressful moments in a magic competition. Each contestant is allocated a 10-minute slot (not a second more) to coordinate their performance with the theater’s technical teams.

Like at FISM in Quebec in 2022, the resources allocated to close-up were substantial! Unlike a certain era, we now had access to full theater facilities: a real set of stage lights, a real curtain that closed between each performance to allow us to set up, and the jury was seated in the front rows of the audience, not on stage between the audience and us.

As with every FISM, rehearsals were coordinated by the excellent duo Mike Miller and Joan Caesar, who continuously ensure that everything runs smoothly.

I arrived early to prepare my equipment, which I was allowed to store in a hallway away from the other contestants for space reasons. This reassured me somewhat, as I know that some contestants take the competitive aspect too seriously, sometimes leading to backstage sabotage… Once ready, I headed to the stage and set up my table, ready for the technical adjustments. With Yoann in the audience to check the lighting and sound levels of the microphone and music, I reviewed all the points on my technical sheet with the technicians. We adjusted the two lighting settings, reviewed the transitions, adjusted the camera framing, and ensured the card visibility on the screen for those seated at the back of the venue.

I barely had time to take out a few cards to check the final angles when I heard Mike Miller shout, “Five seconds!!!”. I quickly turned my head to check the image on the screen behind me and thanked the on-site team for their efficiency. Everything was reviewed, understood, and noted. All that remained was to dismantle the equipment and relax a bit before the big day.

 

The French Delegation

This year, 15 French magicians were competing in their respective categories. Contestants are usually accompanied by members of the French magic team (stage and close-up) during these competitions to provide logistical and moral support before, during, and after their performances.

We all gathered on Thursday morning at the Bilia Hotel to review the upcoming days. Jean-Philippe Loupi, who manages the stage candidates’ logistics, took inventory of the technical sheets. He also gave advice to the close-up candidates who had their rehearsal that evening, as he couldn’t be there himself. Pathy Bad, director of the French stage team, spoke to organize the various events. Who is competing when? Does he/she need assistance for rehearsals? Setting up? How many people? Who can be available?

Without a close-up team coordinator on site this year, I found myself on the front line for the candidates in my category (four in total). However, as I also had to manage my own performance and was bombarded with questions (Is so-and-so here? Do you know where he is? Does he need anyone? When is his rehearsal?), I quickly developed a headache and stepped back, stating that I would be available only after my performance.

 

Opening Ceremony

After an hour, the full schedule was set, and we headed to the large tent where the opening ceremony and gala were held. This year, much like in Quebec, the Masters of Magic organization decided to hold a parade of nations during the opening ceremony. Each country was to be uniformly dressed (we had T-shirts partly provided by the FFAP) and parade through the hall to end up on stage together, all to a “magnificent” techno rendition of “Ode to Joy.” Being the youngest member of the delegation, the entire French team wanted me to be the flag bearer for the parade. It was my first honor, and it’s a practical detail to know if I’m in the ceremony photos!!

The ceremony was followed by a superb opening gala, featuring highly talented artists (including the current FISM Grand Prix winner, Laurent Piron).

While the stage competitions took place throughout Thursday evening and part of the night, followed by a spaghetti party and close-up show, I decided to return to rest and prepare for my big day the next day.

 

The Competition

After a good night’s sleep, I wake up on Friday morning feeling confident and serene. Since Yoann left me the keys to his car, I drive to the auditorium late in the morning to start getting ready, as the session begins at 2 PM. Scheduled to perform around 4 PM after the intermission, I take my time, avoid stressing out, and eat my sandwich peacefully in my hallway, alone with my thoughts.

I then hear the audience starting to enter the hall and take their seats. Yoann joins me to keep me company. It’s time for me to start warming up. I take out my equipment, get into costume, and begin to rehearse my act silently, with the music in my ears.

Through repeated rehearsals, I’ve noticed that I start delivering good performances by the third or fourth run-through. Therefore, I force myself to perform the entire act, under almost real conditions (silent speech), without stopping for minor technical issues. These rehearsals allow me to identify some cards that reacted poorly to the room’s humidity. Fortunately, I always plan for doubles, even triples, of my equipment for competitions. So, I replace these cards and do another rehearsal to ensure everything works smoothly.

Working right in front of a door leading to the stage, I also hear everything happening there. It can be very unsettling if you’re not prepared for it: hearing the audience applaud and cheer after a performance inevitably affects the other competitors. Who was that? Were they really that good? Will I measure up? One must learn to ignore it.

The intermission arrives, and the stress ramps up a notch. My backstage rehearsals aren’t going as well as I’d like; I can feel the pressure holding me back. In the days and hours leading up to this moment, I’ve met many attendees (both French and international) who are already familiar with my work. They have all encouraged me strongly, assuring me that I will win and that it will be amazing. I don’t think they realize it, but this puts immense pressure on one’s shoulders. Not only do you think about the competition aspect, but you also don’t want to disappoint… So, I decide to put down my equipment and breathe, breathe, breathe… to relax, to reduce the stress as much as possible. Christine from the French delegation joins me backstage to ensure everything is alright and to prepare for the equipment she will need to bring out during the setup.

The session resumes. I hear my foreign friends being announced on stage, and the reactions are good. A Brit is called up; I will be next. Yoann opens the stage door for me and helps me set up the equipment on the edge of the stage while I get fitted with a microphone. The previous act finishes, and the curtain closes. I set up my table, my chair, and the one for my spectator. I am introduced to Nikola Arkane, an English magician who will sit at my table. I introduce myself, briefly explain the different actions she will need to perform during the act to ensure she understands everything and that nothing will go wrong when the time comes. My final props are brought to me. I stand behind my table, Yoann runs through my checklist points. Everything is OK. I signal to Joann Caesar that we can start.

The curtain opens slowly, my face appears on the screen behind me. I see the jury members, some of whom are friends, in front of me. And at that moment, the stress vanishes. I hear myself thinking: “Go ahead, have fun.” I hear the music start (a few seconds late), and we’re off.

The act goes off without a hitch. Nikola is very responsive, and it shows in the audience’s reactions. The responses are incredible, even the jury members are fully enjoying it! At the final reveal, applause erupts, people stand up. Phew, I did my job.

The curtain closes, and all the pressure lifts. This feeling is indescribable. An instant endorphin rush, you’re on cloud nine. I bring my equipment back backstage, where I’m already greeted by some of the previous competitors who congratulate me.

 

After the Competition

The following hours were just magical. In every hallway of the convention center, every person I passed, compliments flowed, whether from anonymous attendees or renowned names in magic. I even received a standing ovation when I entered a pizzeria, from a table of Italian magicians (the host country)! I could finally relax; I had done my job. If a reward comes, it will come; it’s no longer in my hands.

I could now let loose, enjoy the evening’s stage competition session, and the party that followed. The next day, I took care of my French friends who were competing in turn. Each delivered a great performance; we should have several podium spots. On Saturday, I attended the last competition session. After seeing the final competitor, I believed I had delivered the best performance in the card magic category. The suspense would end tomorrow; tonight, we celebrate…

 

The Results

The awards ceremony was choreographed this year. All competitors were invited to the hall about an hour before the ceremony to explain the proceedings. A message had been sent to all delegations in advance to “impose” proper attire and avoid shorts and flip-flops for the souvenir photo. So, I showed up in a suit, even though it was a bit too warm for the season.

People crowded into the auditorium, and the ceremony began. Walter Rolfo (congress president), Xavier Tapias (new FISM Europe president), and Andrea Baioni (FISM president) each took turns speaking to congratulate all the candidates. Then, a new feature this year: all candidates were called on stage by category for the announcement of the prizes. This allowed everyone to be seen again by the public and applauded for their courage and hard work in participating in such an event. The originality and invention prizes were awarded, one of which went to a French contestant!

The 10 candidates in the card magic category lined up on stage. Walter Rolfo declared that the prize winners would be announced by renowned magicians for each category. Then the great Dani DaOrtiz, a true card magic monster whom I’ve had the chance to get close to, entered with an envelope in hand. I was next to Air One, my compatriot, and we were both eagerly awaiting. Dani opened the envelope and announced, “Third prize… From France, Air One!” First exclamations of joy and the first international prize for my comrade! The suspense was at its peak. “Second prize… also from France, Robin Deville!!!!” Wow… I collected my trophy, proud and happy, under the applause of the audience. “First prize is not awarded this year.” Yes, that’s the peculiarity of FISM competitions! There may be no first prize… So, I won these European Championships by receiving the highest distinction in card magic, but I cannot say I am the “European card magic champion” as I did not receive a first prize.

In total, we were three awarded French competitors in close-up, one on stage (3rd prize in Mentalism), and one in invention.

I learned a few hours later that my final score averaged 75.2. The 80/100 threshold is very close and attainable for next year!!

 

Closing Gala

But the adventure doesn’t end there! Usually, at FISM conventions, only first prize winners are invited to perform again at the closing gala. But this year, and I think it’s a good thing, the organization decided to have the highest awarded in each category perform again, even if they did not receive a first prize. After the ceremony, I went to the car where my props had been stored, just in case, and headed to the tent.

There, I found all the competition winners, already in full preparation. The technical side was managed by Luis De Matos’ team, a very famous Portuguese magician. You immediately felt they were great professionals. Before my turn, I saw the chief stage manager addressing an artist in German, switching to English with another, speaking Portuguese to another stage manager, and giving instructions in Italian through her intercom for the crew… I was astonished when she asked me in impeccable French if I was ready for my adjustments…

Now, there was no stress about the timing. We took all the time needed to set the stage lights and adjust animations on the LED screens, camera positioning, white balance… everything went perfectly. And I learned that this closing gala would be presented by none other than the brilliant Topas, a star of German magic and one of the most creative magicians of our time. What a thrill!

The show started, I was the second to perform after the first prize in general magic, Nikolai Streibler (who will surely be on the podium at the World Championships next year). I set up, and the routine began. Everything went well; I even took advantage of the lack of pressure to make a little joke about having ONLY won second prize… a minor technical hiccup, but it didn’t matter, I was already there. My performance once again ended with a standing ovation.

At the end of the show, I received congratulations from many great names in magic who hadn’t been able to attend the competition on Friday and were discovering the routine for the first time. What a joy to see your work appreciated and recognized among the best magicians on the continent…

I ended the evening with the French team, on the terrace of a bar, treating them to a round.

 

And Now?

The prize I won in Saint-Vincent automatically qualifies me for the World Championships in Turin in July 2025. So, I have a new goal in mind, with the firm intention of not just making an appearance this year. I want to present a final version of this routine, ensuring the audience has one of the best moments of their day while watching. I want to make my family and loved ones proud. There’s still a lot of work to do; the countdown has begun…

 

THANK YOU

There are, of course, many people to thank without whom this prize wouldn’t have landed in my hands: the entire French delegation on-site, my family who has endured these rehearsals for seven years, the entire French close-up team, its coaches (Bernard Bilis, Jean-Jacques Sanvert, Ludovic Julliot, Laurent Guez, Pascal Bouché), its current and former members who have contributed to this routine directly or indirectly (Thomas Barthes, Olivier Mistral, Ben Aymerich, Markobi, Tristan Mory…), the Haute-Savoie Magic Club and the Robert Houdin Society of Grenoble for allowing me to rehearse with them many times… and all those who, directly or indirectly, over the past years, have helped advance this routine with their advice (Luis Olmedo, Yann Frisch, Boris Wild, Ali Nouira, Joachim Solberg, Horrett Wu, Bill Cheung, Joshua Jay, Bernardo Sedlacek…) Joan Caesar and Mike Miller for managing the competition, and the entire Masters of Magic and FISM Europe team for the splendid organization.

And a special thank you to Stéphane Gomez, without whom I would never have started developing this routine or joined the French close-up team seven years ago…

 

Photos : Masters of Magic, Nathalie De Cecco, Robin Deville