As a rule be more loquacious in your natural voice than in the ventriloquial voice. This will cause you less fatigue and the audience appreci­ates most that which it gets the least.

When you have got the man down from the roof you may send him away on a level by com­pressing the vocal cords and throwing the voice backward, as it were, speaking neither against the palate nor down the throat. ” Good-night ” are the best words for this effect, ” Good-morn­ing,” ” Good-evening ” or ” Good-bye ” being im- practicable. Close your dialogue in some such manner as follows:

Vent. That is all I want of you, and you may go now. Goodnight.

Jack. Goodnight. {A little fainter.)

Vent. Goodnight. {Loud natural.)

Jack. Goodnight. {Still fainter)

Vent. Goodnight. {Almost shouting.)

Jack Goodnight, ha, ha, ha! (Very faint indeed.)

 

As your own voice becomes louder and the ventriloquial voice fainter, the pauses between the salutations are longer, as would naturally happen were you really calling to a departing caller or workman when, after the last faint, far-away cry you would yell and the answer would be inau­dible. Besides giving, by contrast, greater effectiveness to the ventriloquial voice in this manner, it is necessary in order to fully carry out the deception, as it must be made to appear that the man could not hear your own calls unless you uttered them in an increasingly louder voice as he went away.

 

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