In theatrical magic, misdirection can be described as an art of deceit where the performer is able to draw attention of the audience to one item to distract them from another. The ability to control attention from the audience is the aim of all theatre, and is the primary prerequisite for all magic shows. Whether the magic is of the “pocket trick” variety or the stage is a major production that relies on misdirection, it is the primary element. The term refers to either the effect (the the focus of the observer on an object that is not important) or the sleight-of-hand and patter (the magician’s voice) that creates the illusion.
It’s difficult to determine who first coined the phrase, however the first mention of misdirection is found in the writing of a renowned performer and author, Nevil Maskelyne: Admittedly, it consists of misleading the viewer’s senses to hide from being aware of certain information for which secrecy is required. Around the same time, the magician, writer, artist and performer Tarbell noted, Nearly everything about illusion relies on the art of misdirection.
Some magicians who have studied and refined techniques of misdirection include Malini, Tommy Wonder, Derren Brown, Tamariz, Tony Slydini along with Dynamo.
Henry Hay describes the chief act of conjuring as a manipulation of interest.
A few magicians divert attention of the audience in two primary ways. One leads the audience to look away for a fleeting time, so that they do not notice a act or gesture. The other method alters the audience’s perception, distracting 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. Dariel Fitzkee notes that The true skill of the magician is the ability that he displays in manipulating the minds of the viewers. Additionally, sometimes a prop like magic wands aids in misdirection.
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In the absence of misdirection, even most skilled sleight-of-hand or mechanical device is unlikely to create an illusion of true magic. There’s no doubt about it, misdirection is the bedrock of most effective magic.
Misdirection exploits the limitations of the human mind to present a false image and memory. The brain of a typical person in the audience can only concentrate on one thing at a time. The magician utilizes this technique to alter the perceptions or ideas of the audience of sensory input which leads them to incorrect conclusion.
Some magicians have debated the meaning of the term, misdirection, causing plenty of debate about the meaning of it and how it works.
The great magician Jon Finch
identified a difference between direction and misdirection. One is a negative word as opposed to the other, positive. In the end, he sees both as one thing. If a performer, by any means, has led the thoughts of the viewers to believe that he did something he hasn’t done, he’s wrongly led them to believe this which is why he has misdirected them.
Tommy Wonder has pointed out that it’s more effective, from the magician’s perspective in focusing on the goal of directing attention to the audience. He writes that misdirection suggests the wrong direction. It implies that attention is directed away towards something. Through constant use of this phrase the idea eventually becomes it is ingrained into our brains that we begin to perceive misdirection as directing attention away from rather than toward something.
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Tony Slydini said that if the magician believe that, the public will believe in it, and the magic they can’t perceive. Misdirection is true when they accept what the magician says and follow the magician. reference to misdirection