Get Started in Ventriloquism-An Analysis

Ventriloquism requires the possession of certain qualities of voice, such as strength, clearness, flexibility and ready ability to change at will; ordinary strength in the cartilaginous membrane of the throat and the muscles of the abdominal regions, and some aptitude for mimicry, which of course is dependent upon a combination of qualities connected with the ear and the voice. There are very few persons, however, whose ear is so imperfect that they cannot sing a little or imitate something, and it is safe to say that eight out of every ten could, with practice and perseverance, become acceptable if not great ventriloquists.Visit us for great deals in- Get Started in Ventriloquism.

The feminine voice does not so readily lend itself to the uses of ventriloquy as does the masculine, but it is not impossible for a woman to become a fair amateur or even a professional performer. After taking a few lessons the student may find that he has a hitherto unsuspected talent for the art, which only needs proper cultivation to be made a source of amusement and profit. One must learn how to use the mouth and tongue to achieve certain results, how to speak interiorily with entirely motionless and almost closed lips, and how to make each of the sounds or voices used distinctive in tone, pitch and character.

The successful ventriloquist must also be cool, confident and something of an actor. The voices to him present no illusion, and he can judge of his success only by their effect upon his audience. In one respect his work is more difficult than that of an actor. An actor impersonates only one role at a time, but the ventriloquist who uses figures must speak the lines of several different characters in as many different voices, and must at the same time be ready to question, argue, re-prove or interrupt in his natural voice. The farther removed a ventriloquist is from his audience, the greater the illusion he creates, and yet it is remarkable how near the auditor can stand to the performer without being disillusioned.

Unlike the magician, who requires an elaborate “fit-up” to properly perform his illusions, ventriloquism always has the mysterious at its command. From a haystack by the country roadside or from behind the closed portals of an empty store or the depths of an open sewer in the city, he can evoke “spirits” to amaze and mystify the hearers, which yet exist in nothing more substantial than his own voice. In this strenuous age of money-getting, public amusements are necessary, as they afford welcome relief and relaxation from the constant hurly-burly of modern conditions.

Merely as a source of amusement, however, a practical knowledge of ventriloquism pays well for the time and effort spent in acquiring it in the amount of fun and glory one gets out of it, the relaxation it affords from the sterner duties of life, and the welcome pocket money which it brings to its successful exponent, which in a city, where one can be in touch with amusement agents, often amounts to considerable. A half-hour’s exhibition of ventriloquism with the aid of mechanical figures, which carry on a bright and amusing dialogue with the performer and possibly contribute a song or two, varied by conversation with invisible people or imitations of various tools and musical instruments will often be eagerly accepted as an agreeable departure from the monotony of readings and vocal and instrumental music usually given at local entertainments.

If you possess a voice of at least moderate range and power, and an ear that is fairly accurate in sensing sound impressions, you will have no difficulty in becoming expert enough in the art to give an exhibition similar to that mentioned above-just when, will of course depend entirely upon the amount of attention you give to it and the degree of aptitude you display. Time and experience are all that you then require to become perfect at ventriloquism.