In theatrical illusion, misdirection is a method of deceit where the performer is able to draw attention of the audience to one object to divert attention from the other. The ability to control attention from the audience is the goal of every theatre, and is the primary requirement of all magic acts. Whether the magic is of the “pocket trick” variety or the stage is a major 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 hands or the patter (the magician’s speech) 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 writer and illusionist, Nevil Maskelyne: Admittedly, it consists of misleading the viewer’s senses to hide from detection certain details for which secrecy is required. Around the same time, magician, artist and author Tarbell noted, Nearly everything about sleight-of-hand depends on the art of misdirection.
Magicians who have researched and evolved techniques of misdirection includes Malini, Derren Brown, Tamariz, Tony Slydini, Tommy Wonder as well as Dai Vernon.
Henry Hay describes the central act of conjuring as manipulation of interest.
A few magicians misdirect audience attention in two primary ways. The first is to make the audience turn their attention away for a short time, so that they don’t detect some trick or movement. The other approach re-frames the perception of the audience, lulling the audience into believing that some other factor has much to do with the success of the trick even though it has no bearing on the effect at all. Dariel Fitzkee notes that The real talent of the magician is in the skill that he displays in manipulating the mind of the audience. In addition, sometimes, props like the magic wand can aid in the misdirection.
it, even the most proficient sleight of hand or mechanical gimmick is unlikely to create an illusion of real magic. Without doubt, misdirection is the keystone of almost all compelling illusions.
Misdirection exploits the limitations of the human mind to give the wrong picture and memory. The mind of a typical spectator can only focus on one thing at a time. The magician uses this to influence the viewers’ thoughts or perceptions of sensory input, leading them to false conclusions.
Some magicians have debated over the usage of the term, “misdirection,” causing many discussions regarding what it is and how it works.
The world-class magician Jon Finch
made a distinction between misdirection and direction. One is a negative word, and the other positive. In the end, he considers both as one thing. If a performer, through some means, has directed the thoughts of his audience to the conclusion that he’s done something he hasn’t done, he’s wrongly directed them into this belief which is why he has misdirected them.
Tommy Wonder has pointed that it’s more effective, from a magician’s point of view, to concentrate on the purpose of directing the attention of the audience. He writes that misdirection implies wrong direction. It implies that attention is diverted away towards something. Through constant use of this phrase, it eventually becomes so embedded in our minds that we might start to think that misdirection is directing attention away from rather than towards something.
Tony Slydini explained that if the magician believe that, the audience will believe it and magic is something they don’t perceive. Misdirection is true when they believe in what the magician is doing and then follow the magician. misdirection website