If you should have occasion to imitate a French­man don’t fail to remember that the Parisian lacks in aspirates what he makes up in r’s; gives a sex to everything, and introduces a little Punch quality into the terminations ending in ” n.”

The German puts a ” b ” where he should use a”p” and vice versa, and a”v” for a ” w.”

Among the characters which you may care to imitate, either for figure working or for Natural ventriloquism are fleshy people, who never have deep or big voices. Use a little voice with mod­erate pitch for a fat man, and a falsetto voice for a fat old lady.

The voice of a jocular young man is hard, loud and thin, and is produced explosively against the front of the palate, immediately above the upper row of teeth.

The loafer or tramp whose voice has been destroyed by chronic hoarseness and drink speaks in a sort of harsh whisper. The only hint that can be given for its production is the statement that it is the Grunt voice without the grunt. On account of its character it is hardly suitable for figures, but with a little appropriate dialogue it may be used at a partly opened door to suggest to the people in a room that there is such a per­son outside who is trying to beg a ” handout” or cast off clothing. Of course the door must be partly opened, not shut, as otherwise the sound would not, in the nature of things, be heard, for it is quite impossible to ventriloquize a whisper.

This voice is usually the product of large cities and does not belong to a countryman. A fair imitation of this voice is often given by so-called” tramp comedians ” of the variety stage.

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Assume an air of perfect self-possession, and having seated the audience as described, stand within a foot or two of the screen and make your first bow as a ventriloquist. Put your whole heart into your work and try to imagine that there is really an old lady behind the screen whose personality is wholly distinct from yours. Act as you naturally would if you were talking to such a person, and do not rush through the dialogue as if you were in a hurry to catch a train. Stand in an easy attitude with your face partly turned toward the audience, and let your eyes dwell upon the screen whenever the ficti­tious old lady is speaking.

Probably the first desire of the student of ” Near ” after he has begun to ventriloquize will be to possess a mechanical figure, for the use of such a puppet tends to give added interest to his practice and also a greater self-confidence in his early performances. With such a figure on his knee he can make his early essays in the art of entertaining with fewer misgivings than would otherwise be the case.

But all students perhaps cannot afford to pur­chase a figure at the outset, and to such I would recommend the ” talking hand,” one which can be arranged in a few moments’ time and at no expense whatever.

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The student is now ready for actual work with the throat in the production of the different voices required in figure working.

First comes the ” Punch ” voice which, as its name indicates, is a close imitation of that used for the puppet Punch in ” Punch and Judy” shows. A Punch and Judy performer uses a little instrument (made by winding a narrow piece of cloth or tape over and between two curved pieces of tin) to produce this voice, but this is not allowable for a ventriloquist who stands in full view, and the voice must therefore be produced naturally.

To do this, recall just how the Punch voice sounds or take the first opportunity to listen to a good Punch and Judy performer; or think of the higher notes of a clarinet or the sound of a squeaking door. Then bring the teeth together and stretch the tongue until it touches the roof of the mouth near the back of the front upper teeth. Then say, ” Judy, Judy, where are you, Judy? “in as high a tone as you can command. The position of the tongue throws the sound into the cavity of the nose, thus imparting to the voice the strong nasal quality which is needed. It also has the sound of a high-pitched reed in­strument, and the more reedy and metallic you can make it the better.

If the student has difficulty in getting just the right tone, place the tongue as before and say ” Th-e-e-e-k,” prolonging the “e’s” and thinking of the punch voice or the sound made by a clarinet, as before.

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