VENTRILOQUISM IN A MONTH
A PRACTICAL AND COMPREHENSIVE GUIDE TO THE ART OF VALENTINE VOX
THERE is one form of entertainment which perhaps makes a stronger appeal
to the average boy and young man than almost any other. It would not, in
a sense, be wrong to say that ventriloquism is, and has been for a great
number of years, the most envied of all accomplishments incidental to
the art of the amateur and semi-professional entertainer.
True, ventriloquism for many centuries was regarded as an adjunct to
wizardry, and the exponents of black magic, but the great success
achieved by the writer of “Valentine Vox,” the central character in
which was endowed with the most wonderful and extraordinary powers of
voice throwing, brought the subject of ventriloquism at once under
general notice, and ever since it has steadily won its way into
universal favor, with the result that, at the present time, it easily
eclipses in popularity most other forms of amusement.
Despite this, however, the misconceptions existing regarding this branch
of vocal phonetics are extraordinarily numerous and widespread, due,
perhaps, in a measure to the fact that the amount of valuable written
instruction on ventriloquism is so small, while the number of people who
have swallowed the fascinating and improbable adventures dealt with in
the book just referred to are correspondingly large.
To a very considerable extent, then, it is the object of this chapter
primarily to dispose of the many existing fallacies concerning
ventriloquism, because by so doing alone is it possible to commence a
study of the subject with the hope of attaining proficiency and success.
The first idea which the would-be ventriloquist has to dismiss from his
mind is that, by following out a stated course of exercises, he will be
able to “throw” his voice or, in other words, to upset the equanimity of
peaceable old gentlemen snoring quietly in the furthest corner of the
railway carriage--or ruffle the temper of some aged lady by producing
facetious remarks concerning her appearance--from a long distance away;
not that those who approach this subject have any particular desire to
be a disturbing influence to other people, but it is safe to say that
more take up ventriloquism with the idea of practical joking than for
any other purpose.
In point of truth, the real art of Valentine Vox does not lend itself
very easily to the production of such illusions; even when the performer
is capable of producing ventriloquial sound, he will discover that the
“distant” effect depends almost entirely upon his situation at the
moment of utterance, and whether or not those around him are prepared to
give the credence he desires to his efforts. In other words, a
ventriloquist cannot throw his voice wheresoever he will as if it were
sound bottled up only to come out and be heard when it is some distance
away; the best he can hope for is to make that sound so deceptive to the
ears of his audience that, to them, it seems to come from some one other
than the actual speaker.
It cannot, however, be denied that the stock-in-trade of the clever
ventriloquist is so unusual and superior to that of his fellow-worker in
any other branch of entertainment, that he is capable of producing the
most humorous and arresting situations. Moreover, it is a power which
once gained can never be lost, and although a ventriloquist may, from
various causes, give up the pursuit of his favorite subject for a period
of many years, yet he can pick it up again at the point where he left it
and find himself still possessed of the same wonderful and extraordinary
skill.
ALL BORN VENTRILOQUISTS
Unhappily there are other very prevalent misconceptions to be removed
before instruction can be either given or undertaken. The marvelous and
almost incomprehensible powers attributed by the late Mr. Henry Cockton
to his popular character, doubtless gave rise to the idea that
ventriloquism was a gift natural only to those possessing unusual
formation of the throat and vocal organs. Modern research and
investigation, however, have proved that every one is a born
ventriloquist, that the power to make sounds appear to emanate at a
point remote from the speaker is universal--and that all those who study
the subject from a proper and sensible standpoint can easily acquire the
art.
Then, again, it has long been supposed by the uninitiated that
ventriloquial practice is injurious to the throat, and capable of
harming the lungs. Exactly the opposite is the case; the exercises
necessitated by the proper study of the art are such as will serve not
only to train the vocal organs, but also to induce proper breathing--a
practice neglected by many--and to strengthen and invigorate the lungs.
From many years’ personal experience the author can testify to the
truth of this fact; he has known a number of young men who, possessing
lung and throat troubles, and acting on the foregoing advice, have
followed out a practical course of ventriloquial training, and have
obtained much material benefit thereby.
Of course it cannot be denied that some possess a natural aptitude for
the correct expression of ventriloquial sound, and it is they who make
the cleverest exponents. Therefore, from the start it should be assumed
that a ventriloquist has only to cultivate the vocal qualifications with
which he has been endowed in order to shine as a popular entertainer.
Careful and systematic attention to the instructions subjoined will not
only strengthen the throat and respiratory organs, but will also endow
any one young man, or young woman, with the power of giving a highly
amusing entertainment. Probably many who give this chapter attention
will do so with the idea of taking up the subject for the purpose of
making a living, and in that respect it may truthfully be said that
ventriloquism is one of the most paying forms of entertainment. While
the number of conjurors, comic singers, &c., is legion, those capable of
giving a really good ventriloquial entertainment are comparatively few,
with the result that a clever ventriloquist is always certain of
obtaining engagements at fees which he, himself, can fix and command.
The popularity of the subject is so widespread that the chances of
exhibiting it are increasing every year.
THE INITIAL STAGES
Just as the successful illusionist is called upon to devote many many
hours of his time to the speedy and finished manipulation of cards,
coins, and billiard balls, so the young ventriloquist has an equally
uninteresting course to traverse. It is, however, possible for the
initial stages of the work to be accomplished in less time than is the
case with conjuring, and while the work has to be done all the same, dry
and tiresome though it may be, after it is once accomplished the
performer can put it behind him for ever.
The primary difficulty to be overcome is incorrect breathing. Possibly
nine out of ten, when they come to read this chapter, will discover that
their method of breathing is faulty. Most people, from lack of proper
instruction and through carelessness, breathe through the mouth--and
this fault must be remedied at once.
For ventriloquism, as with singing, breathing must take place through
the nostrils. The necessity for this--apart from hygienic reasons--is
that because the ventriloquist, particularly when he is performing with
a “lay” figure, is called upon to conduct a dual conversation, and the
supposed interchange of remarks between him and the automaton is so
rapid that mouth breathing would interfere with the continuous flow of
words. Only by taking in deep inhalations through the nostrils and
filling the lungs to their utmost capacity is it possible to carry on
one part of the conversation with moving lips, and the other with the
face immutably set.
BREATHING EXERCISES
These should be undertaken regularly every day, preferably early in the
morning and in the open air. Stand erect, shoulders drawn well back,
arms hanging loosely at the sides, and then, closing the mouth tightly,
draw in a deep breath, retaining it for some seconds in the lungs. Not
infrequently it happens, that the ventriloquist when performing is
called upon to keep a conversation going for quite a minute and a half
without the opportunity of recharging the lung cells with a fresh supply
of oxygen; from this it will easily be understood how important deep and
sustained breathing is.
At first difficulty will be experienced in holding the breath for more
than five or six seconds; by the end of a week, after ten minutes’
practice every morning, the chest will be so expanded and strengthened
that “half minute breaths” may be taken with ease. Continue the practice
of this exercise until only one inhalation and exhalation takes place
every forty or fifty seconds. Somewhat dry, indeed, sounds this part of
the ventriloquial study; nevertheless it is of the utmost importance,
and will well repay the time, trouble, and perseverance devoted to it.
As a number of minor acquirements must be gained before ventriloquial
effects can be produced, the breathing exercises may be alternated with
the most necessary adjunct of learning to speak without moving the lips.
AUTOMATON--OR MAN?
It has previously been said that ventriloquism largely partakes of the
nature of an illusion, and this effect is produced by the performer
uttering sounds without giving visible indications of the fact.
Consequently, when the audience have before them two figures, a live and
a dummy one, and the mouth of the “dummy” opens and shuts to correspond
with the words used, whilst the face of the ventriloquist remains
mask-like and passive--the illusion that it is the “automaton,” and not
the man who is speaking, is complete.
So important indeed is the ability to do this properly, that speaking
without facial movement ranks of equal importance with the placing of
the vocal chords in such a position that “distant” effect is given to
sound. In fact, one might almost say that a most amusing entertainment
can be given without this latter power at all.
Many ventriloquists or polyphonists, as they more correctly designate
themselves, rely solely for their entertainment on a “knee” figure and
speech without facial expression.
Those who do not aspire to become really first-class and proficient
ventriloquists may conclude their instruction at this point, and rest
quite assured that they have learned sufficient, at any rate, to give a
creditable drawing-room performance.
Naturally the beginner would like to have some idea of the time it would
take to gain a practical working knowledge of ventriloquism. Well, the
student who would take the trouble and devote sufficient time to the
initial and most difficult stages of the work would be in a position to
give a very creditable performance long before his painstaking brother
who, as fast as he seems to be getting on, will find he has to go back
again and again over the early ground.
However, after devoting say a week to the elementary stages, a “knee”
figure might be purchased, and within a very few days a private
entertainment might safely be entered upon. As, however, the course
herewith outlined will take in several different kinds of “voices” for
automata, together with the various modifications of the “distant”
voice, the student should not expect to gain proficiency under a month.
Of course, to give a really finished entertainment consisting of an
exhibition of the “near” and “distant” voices, together with
instrumental and vocal mimicry equal in skill to the average product of
the professional entertainer, many months’ practice are required.
SPEAKING WITH STILL LIPS
A study of the alphabet reveals that difficulties lie in the path of
pronouncing certain letters--a, e, i, o, u, c, d, g, h, j, k, l, n, q,
r, s, t, x, and z--issue from the mouth quite easily; but b, f, m, p, v,
w, y all make a demand upon the muscles of the lips and cheeks.
Unfortunately these letters often recur in ordinary speech, and as it is
almost impossible to speak them distinctly without facial movement,
appropriate vocal substitutes have to be made.
On the border line is “b,” which is generally pronounced by bringing the
upper row of teeth down to the under lip and forcing the breath out
between the lip and teeth; by giving greater force to the exhalation,
and, opening the mouth, it will be found that almost identically the
same sound can be gained, and it is this one which has to be used for
all words commencing with “v” and “b.” Thus the word “brother” is
really pronounced ventriloquially as “vruther”; in the hurry of
conversation the substitution passes notice, and the audience hear only
the correct word.
For “f” an accentuated aspirate makes a very passable
substitution--_i.e._ “fool” becomes “hool,” “feel” becomes “heel,” and
so on.
“m” will be found rather more difficult, but if the lips are formed into
an orifice, and the breath drawn sharply in, the sound of the “m” can be
made inside the mouth instead of by the lips.
As it is almost an impossibility to sound the initial “p” unless the
lips come together, words commencing with it should be studiously
avoided. Another plan is to drop the first letter altogether; but the
former is the better.
“w” is amenable to a little tongue-twisting, and is accomplished by
moving the tongue twice in quick succession to the roof of the mouth
making the sound at the back of the throat. This is as regards the
letter itself, but words commencing with “w” are quite easy. Practice on
“which,” “when,” “what.”
“y,” however, is a fairly certain test, and if you can comfortably
manage this without betraying the fact to the looking-glass (before
which you should carry out your practice) then you have mastered a great
difficulty. A quick exhalation should take place while words commencing
with it are being uttered.
TWO KINDS OF VENTRILOQUISM
Ventriloquism may be divided into two classes--the first and more easy
of acquirement known as “near,” _i.e._ including all those vocal
illusions produced with the aid of automata; and “distant,” which takes
in the various illusions achieved by what is known as “throwing the
voice.”
The most finished exponent of both these branches, of this or any other
age, was the great Lieutenant Walter Cole, and he introduced into his
entertainment such an exquisite blending of the two styles that his
example might well be imitated by other followers of the art.
When carrying on an animated conversation with the “lay” figures placed
at near quarters the proceedings would suddenly be interrupted by the
low sound of voices coming from afar, and this would gradually increase
in volume as the speakers were supposed to draw near, until at last they
would be heard outside the very room in which the entertainment was
taking place.
This is alluded to now, as showing the latitude which ventriloquism
allows its exponents.
Of the two branches, “near” ventriloquism is much the simpler to
acquire, although some might hold that, in order to justify the title,
“distant” sounds should first be mastered.
For the purpose of adding interest to the work, students are recommended
to give precedence to the “near” effects. Briefly, the “near” voices
come from the mouth, the “distant” from the throat.
For the former five modified voices are generally used. These are: “The
old man,” “the old woman,” “the little boy,” “the little girl,” and “the
darky” or “the longshoreman.”
The first is a foundation for the last two. It has been spoken of as the
“grunt,” because, being the vocal production of an aged and uneducated
man, in its initial stages it much resembles the familiar grunting of a
pig.
And here it should be noted that the speech of ventriloquial figures is
always harsh and toneless because the efforts to produce the sound in
the mouth without moving the lips rob them of that music and modulation
invariably associated with the speech of educated persons.
Do not attempt to speak ventriloquially, as you would naturally but slur
the endings of your words. Grunt and drag them out slowly, just as do
many countrymen and those unacquainted with the rules of proper speech.
To give the sound the necessary depth and loudness, keep the lips
slightly apart, the tongue lying loosely in the mouth; then make the
grunt, using some vowel sound like “ah!” fairly far back.
To a certain extent the vocal chords will have to be contracted and the
chin drawn slightly down into the chest.
At first only a spasmodic jerkiness of the breath will come, but after a
little practice “ah!” can be said quite easily, and then other and
longer words follow as a matter of course.
THE OLD WOMAN’S VOICE
Known as the “theek” or “rush” voice, it partakes of the nature of the
squeaky, shrill sound produced by a reed instrument. Most people are
gifted with the power of singing “falsetto,” and the “theek” voice
simply consists of falsetto tones somewhat exaggerated. Either the words
“queek” or “theek” may be used for the preliminary practice, the latter
perhaps being preferable.
As it is not intended in these chapters to enter into a practical
discourse on the anatomy of the throat and vocal chords, technical terms
relating to such will be avoided as far as possible. However, the larynx
must now be mentioned--this is the part of the throat often spoken of as
Adam’s apple, and is the convex portion of the first cartilage of the
larynx. It is, then, this part of the larynx that has to be compressed
by muscular contraction in order to give the “theek” voice its proper
quality; by a slight pressure with the hand on the “apple” you will
realize the position which this part of the throat should occupy when
muscular contraction takes place.
Now, taking in a deep breath and contracting the larynx, it will
naturally curl up the tongue, until the tip presses tightly against the
roof of the mouth. Open the lips fairly wide and say the word “theek” in
a high-pitched falsetto tone, sustaining the vowel sound as long as you
can.
Your first efforts will probably end in dismal failure, but after a few
attempts the full sound settles down to the long drawn-out sound of full
roundness and tone.
Now you have acquired the “theek” voice, which is also the basis of the
voices used with the figures of little boys and little girls.
Very possibly your practice in the elementary stages of ventriloquism
will result in a slight soreness of the throat. To alleviate this, and,
at the same time, to strengthen the vocal chords, gargle with a weak
solution of salt and water, or better still, get a druggist to make up a
gargle for you.
Curiously enough, the mere effort of gargling is in itself a valuable
aid to the production of ventriloquism, inasmuch as the subject is
forced to emit sounds while the water is in the throat, and these will
be found to possess quite a “distant” effect.
Having mastered the “grunt” and “theek” voices, use words consisting of
vowels, changing the words into sentences as progress is made.
At this point the young ventriloquist is sufficiently well equipped to
undertake a public exhibition of his powers, and this being so, it is
perhaps better to make mention of ventriloquial figures before the
remaining “near” voices are dealt with.
As a matter of fact, the practice of ventriloquism in its earlier stages
is not the most interesting of occupations, and not until the beginner
awakens to the full realization of his powers--as he does only when he
is working with automata--is the real fascination of the art felt.
VENTRILOQUIAL FIGURES
Perhaps it is hardly right to assume that every one has seen a
ventriloquial figure; certainly many will be unacquainted with its
peculiarities and modes of working.
The dummy is usually a humorous representation of some grotesque
character--an old man, with strongly accentuated peculiarities, such as
a red nose, wrinkled skin, and big jaws; an old woman, with thin,
pointed nose, sharp eyes, and scanty locks; a little boy grinning
saucily, and having the appearance of possessing the wisdom of all the
ages; the little “miss,” of perky manner; the good-natured, rollicking
black man; and the longshoreman, square jowled and cheeky.
[Illustration: FIG. 1.--Ventriloquist with knee figure.]
[Illustration: FIG. 2.--Working with two figures.]
The one essential about the ventriloquial figure is that it shall have a
moving mouth. In reality the chin is cut away from the face, and the
movable portion working on a pivot or string, gives the same effect as
when a person is speaking.
There are many different forms of ventriloquial figures, some of which
are shown on this page (Figs. 1 and 2), but for the amateur the kind
which possesses only a moving mouth is quite suitable.
[Illustration: FIG. 3.--Showing construction of ventriloquial head.]
By means of a little ingenuity and the expenditure of a few cents a
movable tuft of hair may be added to the wig, but as the working of this
is liable at first somewhat to hamper the manipulation of the automaton,
it should perhaps be left until proficiency is more assured. The hole
in the back of the head or body permits of the hand of the performer
pressing either upon a plate or upon a circle of wire, which in turn
moves down the movable mouth, closing automatically by means of a
spring. Figs. 3, 4 and 5 respectively show the construction of
ventriloquial figure heads and another principle of ventriloquial figure
manipulation.
The number of mouth movements made by the figure should, of course,
coincide as nearly as possible with the number made by the mouth in
ordinary speech; thus a natural effect will be gained.
Placing a “dummy” on each knee, the ventriloquist opens up an amusing
conversation. The aim of the figures is to destroy the effect of the
performer’s remarks by the interpolation of absurd interruptions. The
whole matter resolves itself into a witty dialogue between three or four
people, of whom the entertainer is the central character. Such a
dialogue should be brisk and sparkling with humor, all vulgarity being
carefully eliminated. It is as well to write the dialogue out and learn
it by heart.
VENTRILOQUIAL FIGURE MANIPULATION
Always adhere to a prearranged order of ventriloquial figures. If you
commence your entertaining career with the old man on the right knee and
the old woman on the left, keep to that arrangement all along. A change
will inevitably result in putting the wrong voice into the wrong mouth,
and the result will be disastrous.
Bear in mind that all the while the endeavors of the figures are to make
_you_ appear ridiculous in the eyes of the audience, and they should
turn all your sensible remarks into nonsensical ones, so that the laugh
is always against yourself. Of course the audience will join in the
laugh against you, and it is the taking of this in the proper spirit
that will signalize your success as a ventriloquist.
When putting words into the mouth of an automaton, its face should be
turned towards you; inversely, whilst you yourself are talking the
automaton should be engaged in looking curiously about him at the
audience, as if taking not the slightest interest in your remarks.
Suddenly, however, he will snatch the opportunity of scoring off you, to
the great enjoyment of his partner, the old woman.
[Illustration:
A. Pull
B. Spring
C. Pin
FIG. 4.--Construction of laughing darky’s head.]
[Illustration: FIG. 5.--Principle of ventriloquial figure manipulation.]
Immediately you have finished speaking in your natural voice, keep your
lips absolutely fixed during the time the figure is supposed to be
talking.
It is not proposed here to give specimens of ventriloquial dialogue,
because the humor of these depends so much upon the natural ability of
the performer in presenting the joke or funny story.
Undoubtedly the best plan is to form a cutting-book out of the tit-bits
extracted from the humorous periodicals of the day, and to paste them
in. In this way a voluminous collection of anecdotes, tales, and riddles
will be made, and by a judicious combination and selection of these,
enough material can be speedily gained to last months without fear of
repetition.
The most entertaining form of presenting riddles is for the “old man” or
“little boy,” whichever is being used, to propound them, and the
entertainer to give some practical answer to them. The real point of the
joke should be brought out by the “lay” figure, to the accompaniment of
considerable mirth.
Home-made automata are not recommended, because the cost of purchasing
really serviceable “dummies” is so small as not to make it worth while
spending a deal of time and trouble, to say nothing of money, on their
construction. Moreover, the great point about the “lay figure” is that
it should possess a funny face, and such expressions are rather
difficult for an amateur to obtain.
Many entertainment emporiums deal largely in ventriloquian outfits, and
reliable “dolls” ought to be procured fully dressed for about $5 each.
VOICE FOR “LITTLE BOY”
When a child speaks he almost invariably does so in a high-pitched tone,
more or less directing the sound through his nose. This being so, the
“theek” voice is the one most suitable for him. The similarity between
it and the speech used for the “old woman” may be avoided by speaking in
a somewhat lower tone, and in a simpler and more disjointed fashion.
Suppose, for instance, that you ask the little boy a question? Get him
to repeat that question after you, and give the answer in short, jerky,
broken sentences.
For the “little girl” use a slightly higher tone, without directing the
sound through the nose. In her case also the mode of expression must be
childish, but with slightly more refinement.
The voice for the “longshoreman” and the “darky” are both of the “grunt”
order. For the former, the “old man” voice is used, with the addition of
the peculiar “tough” twang; whilst for the latter, employ speech of a
much lower and more resonant tone.
Place the chords as when using the “grunt” voice, breathing rather
heavily, and force the sound as far back in the throat as possible, at
the same time contracting the muscles of the stomach while the breath is
being expelled.
The word “yah! yah!” is a very good one upon which to practice, and the
vowel sound should be sustained to some length.
THE “DISTANT” VOICES
By this time the young ventriloquist should have attained sufficient
proficiency in the art of manipulating “knee” figures to feel confident
of venturing on the far more difficult and relatively more important
“distant” voices.
The real test of ventriloquial power is when the performer is capable of
making sounds appear to come from a distance, _i.e._ so modify his
utterances that they appear to the audience to proceed from some point
remote both from the entertainer and from themselves.
The basis of real ventriloquism, as apart from polyphony, _i.e._ “near”
effects, is known as the “bee drone,” because the first sound of which
the vocal chords are capable when placed in the required position much
resembles the droning of a bee in full flight.
The “bee drone” should be practiced in loosely fitting clothing, so
that neither the muscles of the throat nor of the chest are unduly
hampered.
From a natural, upright position, inhale in a short, jerky manner,
making what is best described as a retching noise at the back of the
throat. Unpleasant as the practice of this undoubtedly is for the first
few minutes, after a short while the noise emitted will settle down to a
softly sustained hum. The tongue should lie flat, so that the sound
waves produced partly in the larynx and partly in the back of the throat
are forced upwards by the action of the abdominal muscles and directed
towards the roof of the mouth, the latter acting somewhat as a sounding
board--modifying the sound and conveying to the ears of a listener some
distance away a “distant” effect.
The continuous practice of the word “ah,” with the vocal chords in the
position just described, will speedily produce the necessary droning
quality.
It remains now only by a contraction of the throat to regulate the
quality of the tone and the distance from which you wish it to appear to
come.
From this point progress will be found rapid and satisfactory. The
various modifications of the bee drone produce respectively,
1. _The “roof” voice._
2. _The “level” voice._
3. _The “floor” voice._
The “roof” voice is extremely useful for illusions of all kinds, and
perhaps is the easiest of the three to acquire. Its purpose is to make
sound appear to come from any point above the audience, and the
entertainer practices it at first by standing erect, taking in a deep
breath, and then drawing backwards and downwards the lower jaw, holding
it by muscular contraction in that position. With the lips about an inch
apart say your words, whatever they may be, just as you would the “ah!”
of the bee drone, concentrating your mind on the effort of directing the
sound waves towards the roof of the mouth. In this case, however,
exhalation should take place very slowly, while the speech is uttered
with unusual clearness.
The effect of the illusion, however, is destroyed if whilst using the
“roof” voice you look either straight before you or down to the ground.
The ventriloquist must bear in mind that it is important to deceive the
audience, just as a conjurer does, but the former has this advantage
over his magic brother, that the deception is both optical and oral.
Let him, therefore, when “throwing his voice” to the roof, glance
sharply upwards as soon as the words are uttered, and turn his head in a
listening attitude; his example will be followed immediately by the
audience, who naturally fall into the trap prepared for them, and, for
the time being, are quite satisfied that the sounds do really come from
the roof.
This is an advantage on which the ventriloquist can trade to an enormous
extent, because the ear is so easily deceived. How difficult it is, when
listening from within a closed room to a street organ playing outside,
to tell whether the music comes from up or down the road. So with
ventriloquism--the performer has but to modify the position of the vocal
chords as indicated, and to fix his eyes upon the roof, when lo and
behold! everybody is perfectly satisfied that the speech _does_ come
from above.
“LEVEL” SOUNDS
Of the three “distant” voices, the “level” is, perhaps, the most useful
and the most generally successful, because the mere fact of the
entertainer being on the same plane as the door and the windows, from
behind which people are supposed to converse with him, provides him with
opportunities for using the facial muscles and for distorting sounds,
and so heightening the illusion.
For instance, whereas he must turn full or three-quarter face when using
the “roof” voice, he can carry on a dialogue on the “level,” sideways to
the audience; or in the case where the stage possesses a door at the
rear, he may often be permitted for a moment to turn his back.
Practice as before in the “bee drone” voice, without endeavoring to any
great extent to shut off the sound in the throat. This may be done by
curling up the tongue so that its tip presses against the back of the
upper teeth.
If you are practicing by the side of the door, as you open it towards
you the ventriloquially uttered sounds must be raised in tone and made
more distinct by lifting the shutter from the throat, or, in other
words, by allowing the tongue to resume its normal position, and the
sounds to issue forth on the principle of the “bee drone.”
THE “FLOOR” VOICE
This voice is extremely useful for such illusions as “the man in the
cellar attending to the gas meter,” &c. It calls particularly for a
display of histrionic powers, and the mere fact of bending down, as the
sounds appear to come from below, helps to give it the necessary subdued
and “distant” effect. Whilst speaking very slowly in the “bee drone”
thrust the chin forward, contracting the larynx as much as you possibly
can; roll back the tongue to stifle the sound in the throat, and the
illusion will be complete. Immediately you change from the “floor” to
the natural voice, resume the standing position and speak with unusual
distinctness. The contrast cannot fail to escape the notice of the
audience, who will be quite convinced that you have indeed carried on a
conversation with some one below.
VENTRILOQUIAL IMITATIONS
Although imitations can hardly be classed under the heading of pure
ventriloquism, yet they may be pressed into the service of the
entertainer to promote variety in his performance. They serve, too,
another very useful purpose, inasmuch as they provide a relief from what
must inevitably prove a strain on the vocal chords. As has already been
said, ventriloquism necessitates the placing of the vocal chords in a
somewhat unnatural position, and the result is that the exponent,
particularly in the early stages of the work, is apt speedily to become
tired.
As a break between an exhibition of “near” ventriloquism--that is, with
the automata--and an exposition of distant effects, one or two vocal or
instrumental imitations will prove welcome both to the entertainer and
the entertained.
A witty person once remarked that the secret of success lies not so much
in what you can do, as in what you can induce other people to think you
can do. In other words, a little knowledge in the hands of a
ready-witted and competent ventriloquist can be turned to great
advantage and become a valuable asset in his undertakings. For
successful imitations, self-confidence is perhaps of even greater
importance than the possession of real ventriloquial powers.
Self-confidence is a trump card that the ventriloquist should always
hold in his hand, because it will take all the tricks. Success is
impossible without it, and easy with it!
Perhaps there are few branches of entertaining in which self-assurance
is so necessary as in ventriloquial mimicry. The border-line between a
successful imitation and a ludicrous failure is oft-times so narrow,
that a sensitive soul would soon be disheartened.
The only difference between the efforts of the ordinary and the
ventriloquial mimic is that the latter, when giving expression to sounds
vocally produced, should place the chords in the same position as for
the “bee drone” and the “distant” voice.
A very good study is that of a hen as she cackles immediately before
laying an egg, and again after having done so. You will notice that the
first sounds are mostly of a guttural nature, and they should come from
well back in the throat, starting moderately high and descending four or
five notes. Of course the lips will have to be kept slightly opened, and
for the final jubilant crow considerably extended. To avoid the
necessary facial movement, it is as well when uttering the “crow” to
turn sideways to the audience. Again, while the first note of the
cackling should be loud, the successive notes grow quieter.
A DOG FIGHT
An imitation of a dog fight will form a spirited item in your programme.
By your actions you may suggest, for instance, a small cur yapping
vigorously until a larger and more ferocious animal endeavors to quiet
him.
To produce the higher notes of the dog-bark, the falsetto or “thick”
voice must be used, while the deeper guttural tones already explained
for use with the “darky” serve for the larger dog.
It is a little difficult to intersperse the two sets of sounds without
expressing facial contortion, but you may obtain for yourself a certain
amount of license by pretending that the dog fight is taking place
beneath a covered table, behind which you may stoop in your supposed
endeavors to stop the tumult.
It is but natural to turn from dogs to cats. Whereas you have just given
an imitation, perhaps, of a fierce duel, your next effort should
endeavor to portray a feline courtship. This should be made as funny as
possible. The lady’s “marr-rr-ows” and “mia-a-a-ows” are easily copied
after you have been kept awake a night or two listening to the genuine
article, whilst the deeper tones of Mr. Tom are included in the
repertory of every well-educated schoolboy.
The mouth should be kept fairly wide open and a kind of sideways motion
given to it, whilst the cry should be drawled until the lips form for
the final “ow.” The spittings and growlings necessitate the bringing
together of the lips and teeth, a freedom which your audience on this
occasion must permit you. The doleful moans with which our feline
friends endeavor to solace one another can be produced by making the
mouth very hollow, the lips into the form of a large O, slowly
contracted to a very small one.
For the die-away, distant effect, moaning more or less in the throat
must be resorted to. The finale can consist of a number of fierce
spittings and growlings, suddenly interrupted by an unmistakably human
voice (your own) “shoo-ing” the night visitants away.
A variation can be made by giving an imitation of pouring out a glass of
wine. To produce the illusion of drawing the cork from the bottle, turn
slightly round, thrust the forefinger into the mouth against the cheek,
close the lips around the finger, slowly bring the end of the finger
round inside the cheek, and force it smartly out through the lips. The
result will be a loud pop. By moving the tongue from the back of the
mouth quickly backwards and forwards, making it strike against the
inside of the gums, the “glug, glug” of the wine being poured out will
be plainly heard.
THE LION AND THE COW
Under the cover of a screen, the roaring of a lion is simple of
accomplishment. Use an ordinary lamp chimney, and give vent to a series
of deep-throated roars from this. The effect will both be natural and
startling. With the same instrument the deep lowing of a cow can be
perfectly imitated, the lips producing the familiar “moo,” the sound
being gradually drawled through the glass chimney.
To copy a saw at work is quite easy. Get a ruler, or some similar
article, to represent the saw, and draw it backwards and forwards as
though cutting a piece of wood. The sound is best made by clenching the
teeth, placing the tongue a little forward between the upper and lower
teeth, quickly inhaling and exhaling the air. The resultant noise will
be an exact imitation of the saw cutting its way through the wood.
Quite an effective item is the ascent of a rocket. By blowing hard
through pursed lips, and striking the mouth rapidly with sharp little
blows with closed fingers, the curious sound of an ascending rocket may
be reproduced with perfect fidelity. This slowly fades away, there is a
moment’s pause, and then the final pop as the stars burst. Naturally
such an imitation should be performed in the shelter of the screen. As a
last example, an imitation of the itinerant knife-grinder may be
attempted. Keep the lips and the teeth closed to produce the rasping up
and down of the steel upon the grindstone, the while working an
imaginary treadle with the right foot.
THE COMPLETE ENTERTAINMENT
By this time the young ventriloquist should have at his command both
“near” and “distant” voices and imitations. It only remains to say a few
words regarding the manner of giving an entertainment.
Although smart dialogue is very entertaining, it is apt, after a little
while, to pall; and to obviate this it will be found well to introduce
an occasional song or comic recitation. In both cases these may take the
form of parodies, but in the former a serious song really well sung by
the ventriloquial figure will evoke both admiration and applause.
Those not possessed of particularly good vocal qualifications may feel
that the singing of a song successfully is beyond their capabilities.
They should, however, bear in mind that nothing like “finish” or
cleverness in execution is expected from a wooden figure. One or two
verses and the chorus are quite enough to venture upon, as singing
ventriloquially is extremely tiring.
The best time to introduce a song is when dialogue between yourself and
the automata has been in progress for seven or eight minutes. Either the
little boy or the old man or the old woman can essay to try his or her
skill as a vocalist, or the affair may be competitive. Much amusement
may be caused by the little boy extolling his own skill as a vocalist,
and the darky challenging him. To settle the matter, let one sing the
first verse of a song and the other the second, the little boy making a
terrible hash of his part of the performance. If his mistakes are
greeted with groans of derision from the old man, or cries of horror
from the old woman, the audience will be immensely pleased.
While the song is in progress, the ventriloquist should look about him
unconcernedly, feigning total disinterestedness in the affair. Towards
the end of the song he may glance sharply once or twice at the singer
and applaud him for his effort, which applause it is to be hoped the
audience will generously supplement.
It is not intended that these few observations on the art of
ventriloquism should be taken as covering all the ground over which this
fascinating subject spreads. Enough has been said, however, to show any
one who is sufficiently interested how to give a really pleasing
drawing-room performance which shall earn for him the reputation of
being quite a creditable exponent of the wondrous and mystifying art of
Valentine Vox.