In theatrical illusion, misdirection is an art of deceit in which the performer is able to draw attention of the audience to one thing to distract it from another. Managing audience attention is the main goal of any theatre, and is the primary prerequisite for all magic shows. Whether the magic is of an “pocket trick” variety or a large stage production, misdirection is the central element. The term is used to describe either the effect (the observer’s focus on the unimportant object) or the sleight-of-hands or patter (the magician’s speech) that creates the illusion.
It’s difficult to determine who first coined the phrase, however an early 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 in order to screen from detection certain details for which secrecy is required. At the same time, the magician, writer, artist and performer Harlan Tarbell noted, Nearly everything about illusion relies on this art of misdirection.
Many magicians who have researched and evolved techniques of misdirection include Max Malini, Derren Brown, Tommy Wonder, Juan Tamariz, Slydini, as well as Dynamo.
Henry Hay describes the chief act of conjuring as a manipulating interest.
Some magicians can divert attention from the audience in two primary ways. The first is to make the audience look away for a fleeting moment, so that they don’t detect some sleight or move. The other method alters the audience’s perception, distracting them into thinking that something else can be a factor in the performance but it actually isn’t a factor in the outcome in any way. Dariel Fitzkee explains that the most effective magic is in the talent of his performance in changing the mind of the audience. Sometimes, a prop such as the magic wand can aid in confusion.
Without mastery of 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 utilizes this to influence the audience’s ideas or perceptions of sensory input, leading them to false conclusion.
Magicians have debated over the usage of the term, misdirection, causing many discussions about what it is and how it operates.
Proficient magician Jon Finch drew a distinction in misdirection from direction. One is a negative word as opposed to the other, positive. Ultimately, he equates the two as the same thing. If a performer, by any means, has led the thoughts of the audience to conclude that he’s done something he hasn’t done, he has wrongly led them to believe this and, consequently, misdirection.
Tommy Wonder has pointed out that it is much more efficient, from a magician’s viewpoint, to concentrate on the positive aim of directing the audience’s attention. He writes that misdirection suggests wrong direction. It implies that attention is directed away from something. When we keep using this term the idea eventually becomes ingrained in our minds that we may begin to perceive misdirection as directing the attention away from instead of toward something.
Tony Slydini explained that if the magician believes that, the audience will believe in it, and magic is something they don’t see. Misdirection is true when they accept what the magician says and then follow the magician. more info on misdirection