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.