Every Boy's Book: A Complete Encyclopædia of Sports and Amusements

by Unknown

MIMICRY AND VENTRILOQUISM.

“How can I become a ventriloquist?” is the frequent thought of a boy; and he is told, probably, that it is an exceptional faculty, and cannot possibly be acquired. This is not so; perseverance and practice are alone necessary to produce those wonderful results which never fail to captivate the public, if the student has a fair musical ear, and a talent for imitation which few boys are without. The deceptive nature of the sounds are the result of certain natural principles, which are called in to aid the experimenter. Those who have seen any professors of the ventriloquial art now living must have been struck by the apparent ease with which the effects are produced. This is not only the result of practice, but the careful attention to certain acoustic principles which regulate the direction of sounds. A sudden change in the direction of sound is oftentimes very perplexing to the ear, even when the eye can assist the other organs. The change of direction of the sound of a peal of bells, which is often interrupted by intervening buildings, is a familiar instance of this, their sound appearing to come from different places as the hearer changes his position. We can easily imagine that when the hearer is still, and the source of the sound moves, the deception becomes much greater, if skilfully applied to the purpose.

The first great secret is to take a full and deep inspiration, so that the lungs may be well filled, to be used as a Highlander uses the windbag of his bagpipes, as required. If we remember that the larynx, which is the cavity in the throat behind the tongue, is capable of considerable flexibility, as well as the trachea or windpipe, we have good materials for ventriloquial effect; thus the mouth and tongue have really, but not apparently, a great deal to do with the modifications of the assumed voice. A clever ventriloquist recommends the mouth to be kept closed, and the tongue rolled back, so as to regulate, as it were, the sound which is formed in the larynx. This may be done by strengthening the abdominal muscles; and it is probably from this being so frequently done, that the name of “belly-speaking” arose. The highest perfection of ventriloquism is speaking with the lips closed, and apparently without an effort of any kind. Some old and some modern professors had this marvellous power in perfection.

It has been recently observed that by constant practice the veil of the palate can be so exercised that it can be raised or depressed at will, so as to dilate or contract the inner nostrils. The effect of this contraction is the same as Mr. Hardy’s rolled tongue; it muffles, as it were, the sound, renders it weak and dull, as if coming from a distance. On the other hand, if the nostrils are dilated to any extent, the sound gradually becomes apparently closer and closer, because it is more distinct.

The uncertainty of the direction of sound greatly aids the ventriloquist. If a man and a woman are placed at either end of a tolerably large room, and each imitates with tolerable success the voice of the other, the confusion between the eye and the ear is so great that it becomes next to impossible to know which it was that spoke. It is thus necessary that the ventriloquist should either by word or gesture direct the attention of his hearers to the spot from whence they expect the sound to proceed. Really, in practice, there is little difference between the sound of a muffled voice, whether it is outside the door, above the ceiling, or down in the cellar. It is possible to acquire such a knowledge of the modifications of sound by distance, obstructions, or other causes, as to imitate them with wonderful accuracy. The late Mr. Love used to carry on a dialogue with a person in a box, and by a masterly modulation of his voice he gave it a muffled tone when he sat upon the box, and different degrees of sharpness as he gradually opened the lid.

The best practice is to begin with imitations only of different voices, until some progress is made. Then commence to practise the muffled voice until the audience are satisfied that it is done tolerably well, for the operator cannot judge of the effect it is producing save by experience. The voice may now be changed until the second voice is marked by some distinguishing characteristic, such as bass, alto, gruff, or speaking. Then the distant voice may be tried, to be modulated as before as success is attained.

A well-known ventriloquist used to make some excellent effects by speaking with a closed mouth when drawing an inspiration, instead of the usual method of speaking during the expiration of the breath.

We will suppose a ventriloquist about to give an illustration of his art. He first takes care that none of his audience are between the line of his mouth and the spot from which the sound appears to proceed. Thus the simplest cause of ventriloquial effect is produced by standing with your back to the audience and your face to the door. With closed jaws you direct a muffled voice against the door. The sound which reaches the ears of the audience is a voice apparently outside the door, but in reality it is an echo of the artificial voice only. Take a simple example. You knock at the door, and in your natural voice you inquire if anyone is there. Assuming the muffled tone, you say that “it’s a friend,” and then inquire his name and business. The answers being given, you slightly open the door and the corner of your lips at the same time, and then the voice loses its muffled tone, and appears more distinct as it comes closer. The deception is more difficult to maintain, and the ventriloquist suddenly turns round and shows that the voice is in reality a mere shade.