The Argus. (Rock Island, Ill.) 1885-1886, 1886-09-13
NENTRHOQUlSM.
REAL SECRET OF THE ART OF
THROWING THE VOICE"

Neurological sounds Produced by the
Vocal organs Aione-How Astonishing
Effects Are Produced - Instructions.
which Any One Can Follow
Xentrilo fpiall sounds are produced by
usnps of the vocaI organs alone The eN
nressiop. talking down the throat, is some
times used when abiding to the sui. Get of
yentriloluisin, as well as talking in the
stomach Neither conveys proper idea
of the art. the hrst being only partly true
aud the latter having 70 claim whatever TO
our attention. Sometimes it may be found
necessary to eonfine the sounds to the
region ol the larnyx in order 10 produce
tel tain effects; the little service the stomach,
or more properly the abdomen, is called
upon 10 perform is i'll aiding the lungs by
muscular action
The art is divided into two part,-ven-
tilloquism proper and polyphonism. The
former comprises those limitations in which
an illusion as to remoteness is intended;
whereas, the latter means limitations of
voices in different persons close at hand,
cries OF animals, etc. Most modern ven
trloquists belong to that class. The ear IL
easily deceived with regard TO the sources
Of sound Such noises are often heard as
the beating of drum, ringing of bell,
rumhling of "A carriage, etc, and the list
ener is uncertain at first al to their true
direction But after while, when the ear
becomes ianiliariled with particular
sound, the location is easily determined,
and it is not again readily cheated by tho
same sound under similar circumstances
So it is with ventriloqusm. The performer
changes tho tono of his voice, Disgusting it
in many ways, and Offering many obstacles
to its free ogress by the tongue, teeth and
lips, as the aforesaid sounds are INSTRUCTED
In their passage by rows of buildings, etc
causing them TO bound from object to OBJ
iect until, when they reach the ear Of tho
listener, thoy seem to come from any direc-
ton but the true one.
TO PRODUCE ASTONISHING EFFECTS
Much stress has been laid by some ven
tr.lolusts upon the fact that it is possible
to face an Audience during their perform
ances, and W tnout betray ing any percepti-
ble movement of the lips OF muscles of the
face Surh performances greatly detract
from the success OF their intended vocal
illusions iy thus directing the attention of
the au tience, not to the supposed sources of
the sound, but To The real source the ven
trileguist himself 1t is simply challenge
~ tho audience to detect, if they can,
whether the performer really does talk with
out moving his lips Some vcntr,loI uists
clam to be superior TO others upon the
ground that Trey always face 5 ,uarely to
the front, but while this is an easy matter,
other aud lar more skilled performers fire.
yucntiy turn their backs 10 the audience,
anJ very seldom present more than a pro-
tile view of their faces In order to pro-
duce astonishing effects, it Is sometimes
found necessary for even the most prof.
cIent ventrilouuist to conceal himself alto
gether from the view of the audience. In
every where the VentriloIuist faces
the audience they will discover that his lips
do move all assertions to the contrary not
withstand Ii should at all times be tho
aim Of the ventr-lioIuist to divert the atten.
tion of the audience from himself entirely,
Of late years large number of ventrilo-
Guists have come TO the front, each one be-
ing IN most respects an intator OF his
predecessor and their exhibitions consist
ing generally of "A dialogue between two or
more puppets and tho performer himself
Such performances are within the power of
any person who has talent for rumicry, a
reasonably cool voice, and the courage to
face an audience. Practice will do it all in
IL short time Not SO, however, with true
ventrilol uism, for no one can become pro-
ficient in this art without devoting to it
much study and years of practice. 1t is
essential that tho student should have All
ear so well attuned as to readily distinguish
the different qualities of sound he should
also possess voice of great tlexibility,
ranging in compass from the deepest bass
b falsetto, and his bump of imitation
should be largely developed. All this does
not imply that there should be any peculiar
construction of the vocal organs, and any
who assert that ventriloquistS necessarily
differ in this respect from other individuals
either do so for purpose or thereby ex-
pose their Ignorance of the subject.
REAL SECRET OF TIE ART
Tie real secret Of ventriloquism eau be
very briefly explained, viz: Nentriloquism
is the imitation of sounds SO that they seem
to Gene from distance from the person
speaking; or, the imitation Of sounds as they
are heard OF coming from distance This
is the whole secret of the art, and the &c
StiiitfiioALAiVtt' upon Hi oSINO anu
dexterity. - s.aS
Any person possessing q good voice,
sound lungs and moderate amount OF
mimetic talent may, with perseverance,
acquire more or less proficiency in the ven
triloquial art, according to the time devoted
to its study. The student should always
copy after nature, either familiar human
voices or cries of animals. Always talk
Il
some endeavor to do Stand or sit erect,
expand the chest and initiate the lungs before
talking in tho ventriloquial voice. Select
short sentences and control the air in the
lungs 50 as to have sufficient to finish each
one before taking another breath. Take
ample time between each question and ans
wer for breathing purposes, and lot the
questions given in the natural voice be oil
sufficient length TO allow time TO fully over
come the fatigue which necessarily follows
this manner of speaking The student is
advised in all cases relating to distant
sounds to lot the ear be bis guide as to tone,
pitch, lpulness, ct, for be can not be gov
erened correctly by any fixed rules in such
matters The practice of listening to vari
Gus sounds in the open air, and noting at
tentively their peculiarities, will in short
| time enable the ear to determine with con.
siderable accuracy all that is essential foI
the study oil ventriloquism A great variety
Of sounds may be produced with but slight
changes Of the tongue and lips and their
action upon the teeth. A little practice
will, however, DO more in this respect than
long explanations OF rules The professional
| ventriloquist requires great confidence and
self-possession, with ready How of small
talk to keep up the interest
1t will probably appear strange to the
uninitiated whom they are informed that
| tho voice from above, the voice below and
| the voice at a distance and on line from
| the performer are produced precisely in the
| same manner The ventriloquist in either
case simply directs the attention Of his
hearers TO the supposed source of the sound
For such voices the vocal chords are con
tracted and a fine, clear tone produced, in
| loudness representing the distance Amy
further written explanations would be of nc
practical value in the study of ventrilo-
quism. Experience has demonstrated that
the art can be successfully taught, though