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.