The more artistic plan, however, is to keep your face toward the audience all the time, or at least in profile, and this should always be done on a stage. Stand with your left side to the au­dience and, throwing your head back, look directly upward toward the spot from which you wish the voice to sound. This pose carries conviction to the spectators, because it is the one that would naturally be taken when talking with some one overhead.

The two voices, which have already been elucidated form the basis for nearly every effect pos­sible in ventriloquism. For instance, the first voice (which we will call No. 1) may be used for a box, closet or door effect, as already explained; while if you wish to imitate the sound of a person shouting from the opposite side of a river or road­way, you would use the voice for the “man on the roof,” which we will label No. 2. In this case, however, it should be made a little louder than when apparently heard through an inter­vening obstacle like a ceiling or a wall.

 

These two voices may, in fact, be used in various ways, and formed into many apparently dissimilar voices by contraction and expansion of the glot­tis and by shortening or lengthening the cavities of the mouth and the throat. By making contor­tions of the mouth and voice in a room alone, the student will get a better idea than any descrip­tion can give him of the many peculiarities of sound and effect which may be created while holding the jaws and tongue in the manner neces­sary to produce the drone.

 

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