page_title: Stage hypnosis
section_title: Skepticism
hierarchical_section_title: Stage hypnosis / Skepticism
caption_attribution_description: English: Catalepsy1
context_page_description: Stage hypnosis is hypnosis performed in front of an audience for the purposes of entertainment, usually in a theatre or club. A modern stage hypnosis performance typically delivers a comedic show rather than simply a demonstration to impress an audience with powers of persuasion. Apparent effects of amnesia, mood altering and hallucination may be demonstrated in a normal presentation. Stage hypnosis performances often encourage audience members to look further into the benefits of hypnotism.
  The causes of behaviour exhibited by volunteers in stage hypnosis shows is an area of dispute. Some claim it illustrates altered states of consciousness. Others maintain that it can be explained by a combination of psychological factors observed in group settings such as disorientation, compliance, peer pressure, and ordinary suggestion. Others yet allege that deception plays a part.
context_section_description: Mesmeric and other stage performances changed their names to "stage hypnotist" in the 19th century. They had originally claimed to produce the same effects by means of telepathy and animal magnetism, and only later began to explain their shows in terms of hypnotic trance and suggestion. Hence, many of the precursors of stage hypnosis did not employ hypnotic induction techniques. Moreover, several modern stage performers have themselves published criticisms which suggest that stage hypnosis is largely the result of sleight of hand, ordinary suggestion, and social compliance, etc., rather than hypnotic trance. Most notably, the well-known American magician and performer, Kreskin, has frequently carried out typical stage hypnosis demonstrations without using any hypnotic induction. After working as a stage hypnotist and magician for nearly two decades, Kreskin became a skeptic and a whistleblower from within the stage hypnosis field.
  For nineteen years I had believed in ... the sleeplike "hypnotic trance," practicing it constantly. Though I had nagging doubts at times, I wanted to believe in it. There was an overpowering mystique about putting someone to sleep, something that set me and all other "hypnotists" apart. We were marvellous Svengalis or Dr. Mesmers, engaged in a supernatural practice of sorts. Then it all collapsed. For me anyway.
  After experimenting with his own subjects for several years until he was satisfied he could perform "stage hypnosis" without any hypnotic induction or trance, he concluded, "The battle of semantics may be waged for years, but I firmly believe that what is termed 'hypnosis' is, again, a completely normal, not abnormal, response to simple suggestion." An outspoken skeptic regarding stage hypnosis, Kreskin not only actively debunked stage hypnotists' claims, but went so far as to offer a substantial monetary reward, $25,000, to anyone who could prove the existence of hypnotic trance. The reward has been unsuccessfully challenged three times. While debunking the "sleep-trance" concept, Kreskin, like other skeptics adopting the nonstate position, was keen to emphasise that he felt the value of hypnotic suggestion had been frequently underestimated.
  British stage hypnotist Alex Tsander has made a rejection of belief in a "state of hypnosis" a central feature of his career. Tsander, who was among 39 parties consulted by the UK Home Office during their 1995-96 review of the regulation of performance, whilst continuing to perform, since 1993, also promoted a sceptical, social psychological view in a series of books. In The Art and Secrets of Stage Hypnotism he stressed a terminological distinction between "hypnotism" and "hypnosis", stating that "hypnotism is the art of creating the illusion of hypnosis". Tsander calls his show "I Can't Believe It's NOT Hypnosis", a title since adopted by others. Tsander boldly states in publicity that no participant is ever in a "state of hypnosis". He argues, in Beyond Hypnosis, that all activities that use hypnotic protocols, such as in hypnotherapy, are based in the cultural influence of roles and schemas of what it is to be hypnotised, ultimately created and sustained through the impressions made by stage hypnotists, manipulating social psychological factors. As an extreme illustration of this, Tsander has used the example of Milton Erickson. Whilst Erickson objected to stage hypnotism, Tsander argued, in Beyond Erickson that the therapist's reputation largely depended upon live demonstrations and that he was in effect a stage hypnotist. He takes Erickson's own accounts of his demonstrations and explains them in terms of normal, social psychological processes and interactions, requiring no special phenomenon or hypnosis to explain.
caption: Catalepsy: "the human bridge".
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