The Master of Misdirection - Tony Slydini

Tony Slydini was born as Quintino Marucci in Foggia, Italy on September 1, 1900. The son of an amateur magician. He began to develop his own sleight of hand magic, as there were no books available to him. He was very intrigued by the psychological aspects of the art, which he honed and utilized through his expert use of misdirection.

While still young, Slydini and his family left Italy to live in Argentina. It was there that Slydini began to experiment more seriously with magic. In 1930, he moved to New York City and found employment in a museum on 42nd Street. From there, Slydini found work in carnivals and sideshows.

While on a visit with his sister in Boston, Slydini landed a job for $15 per day, for a three-day-a-week show, and subsequently performed in Boston for seven years. Slydini became best known for his flawless close up work, which he performed with an air of naturalness, humility and applied misdirection, at a level never before seen. This is why Slydini was nicknamed “The Master of Misdirection”.

More opportunity took Slydini back to New York. He taught magic at his magic studio located at 341 west 45th street. Many famous performers of the day took lessons from Slydini there.

When watching performances of Tony Slydini, one can't help but be drawn in by his warmth, personified by his broken English. He used this unique attribute as natural misdirection in all his performances.

The “The Magic of Slydini” by Lewis Ganson, and both “The Magical World of Slydini” and “The Best of Slydini... And More" by Karl Fulves, are wonderful books from which to learn Slydini's methods of incorporating misdirection in his act.

The following are some of Slydini’s thoughts on misdirection, as documented in these books:

1. The strongest misdirection is provided by looking directly at your audience, singular or plural, and not at your hands.
2. Motions and patterns must be precisely coordinated and timed to the exact psychological second.
3. Both timing and misdirection are indispensible to a magical performance. You may be able to produce or vanish an object using one or the other. But to create an illusion, you must combine them perfectly.
4. The average spectator wants to believe you. You must believe that you actually made a coin disappear. If you do not believe it has vanished, then you will disappoint your audience. Your audience will not believe you either, and you will end up antagonizing your spectators.
5. Gestures, mannerisms and flourishes are used as misdirection, or to prove your hands are clean. They are very useful and even ornamental, but do not exaggerate. Waving your hands like windmills makes for mistrust, but keeping them still for too long will make your effect static and uninspiring.
6. When practicing, turn the radio or TV on to a station you are not interested in. This will teach you to not be bothered by background noise when performing.
7. Practice in front of a mirror with the bottom tilted toward you. This will show you the perspective of the audience. You will know in advance when a move requires additional cover, and be prepared accordingly.
8. Use timing and misdirection to fool the mind, not the eye.
9. The spectator's eyes are most important. Looking directly at the spectator will compel them to look at you. Your look should convey excitement or enthusiasm. Don't worry about the audience. Wherever the volunteer looks, the audience’s attention will similarly be directed.

The following are Slydini's guidelines to performing natural magic:

1. You yourself must believe what you are saying. Use expression and tone to communicate this.
2. If gestures and mannerisms are used to convey, use these throughout the performance. Do not overdo it, find balance. Use these actions to cover a move as needed, and casually when not needed, so that they are perceived as a natural part of your manner.
3. If a move or a slight is awkward do not do it. Study it and modify it until it suits your manner. If you are not comfortable, your audience won’t be either. Strive to adapt your approach until it is refined.
4. Make sure pattern lines fit gestures. Use common sense.
5. The hands and arms must be relaxed. The movements must be unhurried, logical and natural. All movements of the body, arms, hands and eyes must be done without tension.
6. There should be no off color humor, or trace of ego or arrogance. These detract from the trust that is built with the audience. Let the magic speak for itself.

Below are URLs to articles written by Dick Cavett. Cavett invited Slydini on his show twice. These articles contain masterful performances by Slydini. Take the time to watch these; you will be glad you did.

http://opinionator.blogs.nytimes.com/2009/03/27/conjuring-slydini/

http://opinionator.blogs.nytimes.com/2009/04/10/conjuring-slydini-part-2/

Slydini spent his final years at the White House Nursing Club in West Orange New Jersey. Slydini died in 1991. He truly was a Magician's…..Magician.

Sources:

1) Wikapedia

2) "The Magic of Slydini” by Lewis Ganson

3) “The Magical World of Slydini” by Karl Fulves

4) “The Best of Slydini... And More” by Karl Fulves