In theatrical magic, misdirection is a method of deceit in which the performer draws audience attention to one object to divert attention from another. Managing audience attention is the goal of every theatre, and is the primary prerequisite for all magic shows. It doesn’t matter if the magic is the “pocket trick” variety or a large stage production misdirection is the main element. The term is used to describe either the result (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 it.

It’s difficult to determine who was the first person to coin the phrase, however an early mention of misdirection is found in the writing of an influential author and performer named Nevil Maskelyne. it is a method of distracting the viewer’s senses to block out from being aware of certain information that require secrecy. The same time, magician and artist Tarbell noted, Nearly everything about sleight of hand depends on the art of misdirection.

Many magicians who have researched and refined techniques for misdirection includes Malini, David Blaine, Tamariz, Tony Slydini, Tommy Wonder as well as Dai Vernon.

Henry Hay describes the central act of conjuring as manipulating interest.

Many magicians divert attention of the audience in two basic ways. One causes the audience to glance away for a brief moment, so that they don’t detect some sleight or move. Another approach alters the viewers’ perceptions, leading the audience into believing that some other factor is a significant factor in the performance even though it isn’t a factor in the outcome in any way. Fitzkee notes that The true skill of the magician is in the talent of his performance in changing the minds of the viewers. Sometimes, a prop such as magic wands aids in distraction.

Misdirection is the foundation of most successful illusions. Without misdirection, even a mechanical prop or the most skilled sleight-of-hand is not likely to manufacture the illusion of genuine magic.

Misdirection makes use of the limitations of the human mind to create a false picture and memory. The brain of an average spectator can only focus on one thing at a time. The magician uses this to influence the perceptions or ideas of the audience of sensory input which leads them to incorrect conclusion.

Many magicians have debated the meaning of the term, “misdirection,” causing a great deal of discussion about what it is and how it operates.

Master magician Jon Finch

drew a distinction between direction and misdirection. One being a negative term, while the other is a positive. In the end, he considers the two as the same thing. If a performer, by some means, has directed the mind of the viewers to believe that he’s done something that he’s not done, he’s wrongly guided them into that belief which is why he has misdirected them.

Tommy Wonder has pointed out that it is much more effective, from a magician’s viewpoint in focusing on the positive aim of directing the audience’s attention. He writes that misdirection suggests the wrong direction. It suggests that attention is directed away towards something. By constantly using this term the idea eventually becomes embedded in our minds that we may begin to perceive misdirection as directing the attention away from instead of toward something.

Slydini explained that if a magician believes it, the audience will believe it and the magic they can’t observe. The trick is to believe in what the magician is doing and follow the magician. references