In the world of theatrical magic, misdirection is a method of deceit where the performer draws audience attention to one thing to distract it from the other. The ability to control attention from the audience is the aim of all theater, and the foremost requirement of all magic acts. If the magic is of an “pocket trick” variety or an extensive stage production, misdirection is the central key to the success. The term is used to describe either the effect (the the focus of the observer on an object that is not important) or the sleight-of-hand or the patter (the magician’s voice) that creates the illusion.
It is difficult to say who coined the phrase, however the first reference to misdirection appears in the writings of a renowned illusionist and writer, Nevil Maskelyne: Admittedly, it consists of misleading the viewer’s senses to block out from being aware of certain information that require secrecy. The same time, magician, artist and author Tarbell noted, Nearly the whole art of illusion relies on the art of misdirection.
Some magicians who have researched and developed techniques for misdirection includes Max Malini, Derren Brown, Tamariz, Tony Slydini, Tommy Wonder and Dai Vernon.
Henry Hay describes the chief conjuring process as a manipulation of interest.
Magicians can divert attention from the audience by using two fundamental ways. The first is to make the audience look away for a fleeting time, so that they don’t detect some act or gesture. The other method alters the viewers’ perceptions, leading them into thinking that something else is a significant factor in the performance but it actually does not have any bearing on the result in any way. Fitzkee explains that the true skill of the magician is in the skill of his performance in changing the mind of the audience. In addition, sometimes, props like a magic wand aids in distraction.
Misdirection is the cornerstone of most successful magic. Without misdirection, even a mechanical device or the most proficient sleight-of-hand will fail to make an impression of true magic.
Misdirection exploits the limitations of the human mind to present a false image and memory. The brain of an average audience member can only concentrate on one thing at the time. The magician makes use of this to influence the perceptions or ideas of the audience of sensory inputwhich leads them to incorrect conclusion.
Magicians have debated over the usage of the term, misdirection, creating a great deal of discussion about the meaning of it and how it functions. The distinguished illusionist Jon Finch made a distinction between misdirection and direction. One is a negative wordas opposed to the other, positive. Ultimately, he equates the two as one thing. If a performer any means, has led the minds of the viewers to believe that he did something which he has not done, he’s wrongly guided them into that belief; hence, misdirection.
Tommy Wonder has pointed out that it is much more effective, from a magician’s point of view, to concentrate on the goal of directing the attention of the audience. He writes that misdirection suggests the wrong direction. It implies that attention is diverted away towards something. When we keep using this termit becomes it is ingrained into our brains that we might start to think that misdirection is directing the attention away from instead of towards something.
Tony Slydini explained that if the magician believe that, the public will believe it and magic is something they don’t see. The trick is to believe in what the magician is doing and follow the magician. references
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