Recently, an original long lost manuscript resurfaced having been discovered in an ancient bookshop in the back waters of the southern states.
Ventriloquist Secrets Revealed- Entertaining – Part 2 – Concealing Limitations Of The Art
A nice little point of procedure which may be taken advantage of to help conceal the limitations of the art may be mentioned here, to wit: when you speak in your natural voice, employ, if you can without rendering your speech stilted and absurd, words that are impracticable in ventriloquism; also make your utterance as far forward in the mouth as possible, and exaggerate a little the unrestrained motion of your lips. When you cease to speak naturally, your countenance changes as if you had really ceased, although you are still sustaining a conversation. After a time, when you drop the natural voice the face changes by habit from animation to repose, and the vocal organs mechanically adjust themselves for the effect required.
In speaking ventriloquially it is not necessary to close the teeth, unless you find, as I do, that this helps you to better control the facial muscles; but it is always best nearly to do so, as this gives a natural and pleased expression to the face. If you close them, do not press them together in a manner that will give you the appearance of a Russian Cossack in a cavalry charge at Liaoyang, and above all things don’t grin like the fierce villain of the play when he hisses through his set teeth, ” Ha, ha, I have you now! ” If the mouth and teeth are too much open the movements of the tongue are likely to be seen; if the lips are closed the sound cannot leave the mouth, so a middle course must be adopted. At times during the entertainment the ” business ” may allow you to turn your head away from the audience, and your dialogue should be so arranged that these occasions may be seized upon for the vigorous utterance of any proscribed words you are obliged to use.
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