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.