Recently, an original long lost manuscript resurfaced having been discovered in an ancient bookshop in the back waters of the southern states.
Archive for May, 2010
Ventriloquist Russ Lewis – Hollywood Palace
This is a great routine by Russ Lewis with Brooklyn in 1967. It is a clever and fast routine by a ventriloquist at the top of his game.
I thought you would like to see it;
Hope you like it.
Ventriloquist (figures) Dummies – Construction – Part 1
Having progressed thus far, the student will no doubt begin to consider seriously the desirability of burdening himself with a family—a ven-triloquial family—with the idea of either purchasing outright what he needs or of making such figures for himself.
At the outset, however, I would state emphatically that unless you are a natural mechanic and also something of an adept at wood carving you would better wait until you can either purchase the figures required or can pay for having the heads made by a professional wood carver. Such work usually costs from three to four dollars per head, according to the size, and two or three dollars more must be added for the painting, hair, etc. Then the body must be made and dressed—but this you can easily do yourself at little cost.
The small knee figures can be obtained, head, body and all, from dealers in magical goods for from about seven to ten dollars, and larger ones from the latter amount to thirty or thirty-five dollars, according to the size and movements required; so very little is saved by having the heads made to order, and the result is not usually so satisfactory, unless a carver can be found to whom this work is familiar.
Of course if you are handy enough with tools to make your own heads, the saving is worthwhile, and I will now give you a few hints as to how the work may be done.
Ventriloquist Ray Alan Videos
With Ray Alan recently passing away I thought it would be great to post some more videos highlighting his skills as a ventriloquist. I have found three more:-
1. Don’t blink on this one or you might miss him. It is quick but shows his easy relaxed style with Lord Charles
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2. The next video has Ray Alan has some great archive footage of him performing with Lord Charles. It also includes him talking working on the Laurel & Hardy Show. He reveals how he came up with Lord Charles’ character and who he based his appearance on. Let me know what you think about this revelation.
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Finally here is a tribute from Keith Harris and Orville shown recently on TV
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Ventriloquist Puppets – Part 12 – Walking Figures
A development of recent years is the walking figure, whose legs and feet move quite naturally as it marches about the stage, its arm linked in that of the performer. At least, that is the way it appears, but in reality the performer’s arm is concealed under the dress of the automaton, while the arm which appears to be his is a false one. Sometimes the ventriloquial pedestrian appears as a soldier on crutches that he uses very naturally, and again it may be a stout lady of color who, with one hand, lifts her skirt daintily as she walks and talks with her exhibitor. Of course the fingers are attached to the skirt so that any lifting of the arm by a concealed wire will lift the garment also, but it is all very interesting and very natural and adds much to the effect of a, performance. These figures are costly, however, and usually must be made to order.
A laudable attempt has been made by professional ventriloquists during recent years to get away from the conventional by giving their figures novel surroundings and characteristics. One set-up, for instance, represents a country grocery store, with the puppets seated on barrels and boxes in front of the counter, from behind which, in the guise of the storekeeper in shirt sleeves, ” high-water ” trousers, boots and battered straw hat, the ventriloquist discusses with them familiarly about the gossip of the village. Another performer gives his figures an airing at a mimic seashore resort, where they are presently joined by an automaton nurse maid, who trundles her infant charge in a perambulator on the beach without any visible assistance except a small rubber hose which drags at her heels. One also has a soldiers’ camp, with a walking figure as a one-legged colonel, while as the camp mascot Jerry interrupts the conversation from behind a loose flap in the side of a tent.
Ventriloquist Ray Alan Dies Aged 79
Ray Alan has died suddenly at the age of 79.
He was described by his agent as being “Technically he was regarded as Britain’s top ventriloquist. You just couldn’t see his mouth moving.”
Ray started his ventriloquism career during his teen years by creating the illusion that voices were coming from boxes. In 1954 he worked with Laurel and Hardy.
He was regularly on TV during the 1950s – 1970s. He also performed at Bob Hope’s 82nd birthday bash.
His best known puppet was Lord Charles, known for the catch-phrase “you silly arse” and with an eye for the ladies. He was based on an upper-class toff with a liking for the ladies and booze. His face was based on Laurel Hardy.
He was a great talent and will be missed. Here is a video of him performing at his best with Lord Charles.
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Here is a link to his obituary on the BBC;
http://news.bbc.co.uk/1/hi/entertainment_and_arts/10147436.stm
Also on the BBC is an article inspired by Ray Alan about the recent history of ventriloquism:-
It Starts:
The death of British comedian Ray Alan recalls a lost age when ventriloquists were cosy family entertainment favourites. Today, they are more likely to be found at the cutting edge of subversive alternative comedy.
You can read the rest here;-
http://news.bbc.co.uk/1/hi/magazine/8702845.stm
Ventriloquism – Throwing Your Voice – The Drone – Part 6
If you can make the sound of a dog barking near at hand you have only to assume the ” drone ” position to make it appear outside, and the same is true of the imitation of a cock crowing.
The next step is to obtain a sudden transition from the drone to the natural voice. Commence by saying ” Ah ” in the natural voice and follow with the ventriloquial ” Ah,” not as a prolonged drone, but staccato fashion, and practice this with all the vowels, as in the lip practice in Part I.
By this practice you will be enabled to give with ease a conversation with some one apparently outside a window, where you speak in your natural voice and the reply is made in the distant voice. The change from one voice to the other must be rapidly and constantly made, and the required facility is obtained by the practice described above.
If you want to master the art of ventriloquism visit http://ventriloquistsecretsrevealed.com a complete guide to the secrets of the ventriloquism and throwing your voice.
Ventriloquist – How To Throw Your Voice – Possibilities – Part 3
When you have secured the distant effect with the vowels and consonants in close contrast with your natural voice, try the word ” Hello ” and the effect of an echo is increased, not because your ventriloquism has suddenly improved, but because this word is the natural way of testing an echo. If attempted at an earlier stage, there might be danger of your remaining satisfied with the effect thus obtained, even if it were imperfect, because to your untrained ear the sound of the word as given by the drone would seem good enough and might deter you from further effort, without which you cannot hope to excel in this branch of the art.
First call out the word in the natural voice, and try to imagine, when you repeat it ventriloquially, that the latter instead of requiring a separate attempt is merely the echo of an effect already finished.
When you have faithfully pursued this practice for a few days you may take up the imitation of a person talking from behind a door, which is one of the simplest and surest acquirements in ventriloquism. First, you must form a correct estimate of how such a voice would sound, and if you are not entirely clear in your own mind regarding this point, persuade a friend to actually carry on a conversation with you while shut up in another room.
While as a matter of fact there is only one distant voice—that produced by the so-called bee drone—this is modified in various ways for the purpose of giving added effect to whatever imitations are attempted. A voice from behind a door near at hand is louder and more distinct and has a peculiar hollow, muffled tone which distinguishes it somewhat from one coming from a place more remote. These characteristics can be produced by pressing the tongue against the teeth while the latter are set well together and the lips are slightly apart. Before speaking in the ventriloquial voice fill the lungs and keep the breath under good control. Of course in forming some of the words it will be found impossible to keep the tongue entirely still, but so long as it retains a position well forward in the mouth, the effect can be obtained.
Ventriloquism – Throwing Your Voice – Approaching And Receding Voices – Part 3
If instead of apparently going away on a level, you desire to have Jack descend to the cellar, you simply compress the larynx still more and force the sound downward instead of backward. If you cannot, while facing the audience when entertaining in public, easily change the position of the vocal organs to get the effect of the man down-stairs, you can cover the effort by suitable business at a door or window, if you are giving your exhibition near one in a private house, or by turning and walking to the back part of the stage, on some pretence or other, if you are performing in a hall or theatre. In using any of these voices, do not attempt to articulate the consonant sounds plainly; to be particular in this regard would very likely cause the disarrangement of the lips and cavity of the mouth. This caution is especially to be observed where the ventriloquist faces his audience, as of course he should do, at least most of the time. It sometimes happens, however, that it is unnecessary to face the audience, as when you are talking to some one outside a window with your back to the people in a room. On such occasions you can move the lips without interfering with the illusion and thus articulate any word distinctly.
Sometimes ventriloquists have a heavy moustache to screen the lips so that slight movements cannot be detected, but it matters little to a good performer whether his mouth be covered or not, and it always creates a better impression not to rely upon such aids to hide movements which might, with a little additional practice, be prevented.
Frequent reference has been made to the falsetto voice, but it should be understood that this voice in ventriloquism is somewhat different from the falsetto voice in singing. The singer produces it by contracting the larynx; the more this is contracted the shriller the note. The ventriloquist not only contracts the larynx, but directs the sound to that part of the mouth which communicates with the nose.
In Shakespeare’s play, ” The Tempest,” there is an excellent dialogue for ventriloquial study, in the second scene of Act III. For such a hateful character as Caliban the guttural voice, which is the natural vocal expression of malignity and hate, should be used; while the ” Thou liest!” and other short phrases of the ” invisible Ariel” can be given with great effect in the ventriloquial falsetto voice.
Ventriloquist Secrets Revealed- Entertaining – Part 4
People do not look for great thoughts, pretty phrasing and literary finish in a ventriloquial entertainment, and the dialogue has to be written for special requirements and to fit special limitations. Don’t use three words where the same effect can be conveyed in one, as ventriloquial dialogue must be brief and interruption should form a strong part of it. The wit and humor of the vaudeville theatre is sometimes criticised and ridiculed by the more discriminating theatregoers, but variety performers aim to supply what experience has taught them will succeed with the masses, and so with ventriloquism you must use such dialogue as you have found to be most effective and amusing.
It has been stated in a previous chapter that the better actort he entertainer is the greater will be his success as a ventriloquist. This is true because, like the negative adjunct of speaking with still lips, the histrionic art is an important aid to the real work of entertaining and the sustaining of an illusion while carrying on a conversation with an imaginary person. Although the ventriloquist is the real speaker, the listener’s thoughts and emotions are the only ones he is permitted to give outward expression to.
It is ventriloquial acting when the performer places Tommy in the chair he has just vacated and, after putting Jerry in a box at the back of the stage, apparently forgets all about Tommy and sits down upon him, whereupon Tommy cries out indignantly just as a real colored boy would do under like circumstances. Another instance is when the ventriloquist, with a worried expression of nervous enquiry, examines the mechanical arrangements of his figures, while the old man follows his movements by turning his head, and apparently catching the entertainer’s anxiety, says in a low voice—yet sufficiently loud to be heard all over the house—” Is my string broke, guv’nor ?” or when the exhibitor while acknowledging the applause by a bow, causes the old man gravely to inform the audience that the figures are only made of wood.
Ventriloquist Secrets Revealed- Polyphony – Part 6 – More Sounds
Squeaking Door or Gate. —Easily imitated with the Punch voice in its highest key.
As a rule the imitation of musical instruments becomes tiresome, as any imitation will, if continued too long. Many performers, however, have brought this sort of polyphonism to a high state of development.
Banjo. —Say ” Pang ” in the same fashion as you say ” ‘uack ” for a duck, with the difference that the “P” is articulated. By substituting” Tang ” you can use your tongue more and give the sound of the old-fashioned roll by saying ” Trrr-ang.”
Xylophone. —Fix your mouth in position by saying ” Oh.” Then take your open hands and, holding them so that the right thumb comes a little below the left, hollow the hand slightly so as to leave a triangular opening above the latter. Separate the hands and bring them sharply together, which will force the air collected between the palms through the triangular opening. This should be brought opposite the opening formed by the lips, which are in the ” oh ” position described. The result will be a note. By making the opening of the lips smaller the notes become lower; by making it larger, the notes become higher. The percussion of the air against the lips may cause the latter to swell, so it is well to practice this imitation moderately.
Cornet. —This is made by saying “ta” in the Punch voice. It should not be attempted with the lips, but at the top of the palate, ” Ta-ta-ta,” the reality of which may be increased by holding the hand half clinched and making the sound through it. By the use of the saliva you can produce the burr that often precedes the clear-blown note.
For a complete guide to ventriloquism please visit http://ventriloquistsecretsrevealed.com