In theatrical magic, misdirection can be described as a form of deception in which the performer attracts attention of the audience to a certain object to divert attention from the other. Managing audience attention is the main goal of any theatre, and is the primary need of any magic act. If the magic is of a “pocket trick” variety or a large stage productionthat relies on misdirection, it is the primary key to the success. The term refers to either the effect (the the focus of the observer on the unimportant object) or the sleight-of-hand or patter (the magician’s speech) that causes the illusion.
It’s hard to pinpoint who first coined the term, but the first reference to misdirection appears in the writings of an influential author and performer, Nevil Maskelyne. it involves spooking the viewer’s senses in order to screen from noticing certain aspects in which confidentiality is essential. Around the same time, magician, writer, artist and performer Harlan Tarbell noted, Nearly all the art of sleight-of-hand depends on the art of misdirection.
Many magicians who have researched and evolved misdirection techniques include Paul Rosini, Malini, Tommy Wonder, Derren Brown, Tamariz, Slydini and Dai Vernon.
Henry Hay describes the central act of conjuring as a manipulating interest.
Many magicians misdirect audience attention in two primary ways. One causes the audience to look away for a fleeting moment, so they don’t detect some sleight or move. The other approach re-frames the viewers’ perceptions, leading them into thinking that some other factor has much to do with the performance even though it does not have any bearing on the result in any way. Dariel Fitzkee says that the real talent of the magician is in the talent of his performance in changing the minds of the viewers. In addition, sometimes, props such as the magic wand can aid in misdirection.
Misdirection is the cornerstone of most successful magic. Without misdirection, even most adept sleight-ofhand or mechanical device is unlikely to produce an illusion of true magic.
Misdirection uses the limits of human brains 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 utilizes this technique to alter the audience’s ideas or perceptions of sensory inputand lead them to make false conclusions.
Many magicians have debated over the usage of the termmisdirection, causing plenty of debate about the meaning of it and how it operates. The exceptional magician Jon Finch identified a difference between direction and misdirection. One being a negative term, and the other positive. In the end, he sees both as one thing. If a performer some method, has influenced the minds of his audience to conclude that he’s done something which he has not done, he’s wrongly directed them into this beliefand, consequently, misdirection.
Tommy Wonder has pointed out that it’s more effective, from a magician’s viewpointin focusing on the positive aim of directing the audience’s attention. He writes that misdirection suggests wrong direction. It implies that attention is directed away towards something. By constantly using this termthe idea eventually becomes it is ingrained into our brains that we begin to see misdirection as taking attention away from rather than towards something.
Tony Slydini said that if a magician believes that, the public will believe in it, and the magic they can’t perceive. Misdirection is true when they believe in what the magician is doing and then follows the magician. reference to misdirection