Morning journal and courier., 1886-06-29
VENTRILOQUISNT.
Real Secret of the Art of s'Throwins
 the Vofce.o

Real Secret of the Art of s"ThrOwins 2 the Voice.,
 From the San Francisco Call.l
 Ventriloquial sounds are produced by l means of the vocal organs alone. The ex- pression "ta1king down the throat" is some times used when alluding to the subject of ventriloquism, as we'll as "Galking in the stomach" Neither conveys proper idea of the art, the first being only partly true and the latter having no claim whatever to our attention. Sometimes it may be found necessary to confine the sounds to the region of the larnyx in order to produce certain eff fects; the little service the stomach, or more properly the abdomen, is called upon to per form is in aiding the lungs by muscular ac- ton.
 The art is divided into two parts-ventril- oquisn proper and polyphonism. Tie for mer comprises those limitations in which an illusion as to remoteness is intended; whereas the latter means limitations of voices in differ ent persons close at hand ,criss of animals etc. Most modern ventriloqusts belong to that class. The ear is easily deceived with regard to the sources of sound. Such noises are often heard as the beating of g drum, ring ing of a bell, rumbling of carriage, etc., and the listener is uncertain at first as to
 their true direction. But after while,
 when the ear becomes familiarized with 8
 particular sound, the location is easily de- termined, and it is not again readily cheated by the same sound under similar circum- stances. So it is with ventriloquism. The performer changes the tone of his voice, dis guising 1t in many ways and offering many obstacles to it's free egress by the tongue, teeth and lips, as the aforesaid sounds are obstrueted in their passage by rows of build ings, etc., causing them to bound from ob- ject to object until, when they reach the ear of the listener, they seem to come from any direction but the true one.
 TO PRODUCE ASTONISHING EFFECTS. Much stress has been laid by some ventril- oquists upon the fact that it is possible to face an audience during their performances, and without betraying any perceptlble move ment of the lips or muscles of the face. Such performances greatly detract from the success of their intended vocal illusions by thus directing the attention of the audience, not to the supposed sources of the sound, but to the real source, the veEtriloquist him self It is simply challenge to the audience to detect, if they can, whether the performer lireally does talk without moving his lips. Some ventriloquists claim to be superior to others upon the ground that they always face sauarely to the front; but while this is an easy matter, other and far more skilled per formers frequently turn their backs to the audience and very seldom present more than a profile view of their faces. In order to produce astonishing effects it is sometimes
 found necessary for even the most proficient ventriloquist to conceal himself altogether from the view of tho audience. In every case where the ventriloquist faces the audi ence they will discover that his lips do move, all assertions to the contrary notwithstand- ing. It should at all times be the aim of the vsntriloquist to divert the attention of the audience from himself entirely.
 Of late years large number of ventrilo- quists have come to the front, each one be-
 ing in most respects an imitator of his pre- decessor, and their exhibitions consisting
 generally of dialogue between two or more puppets and the performer himself Such | performances are within the power of any person who has talent for raimicry, a reason
 ably good voice and the courage to face an | audience. Practice will do it all in a short time. Not 50, however, with true ventriIo- | quism, for no one can become proficient in
 this art without devoting to it much study and years of practice. It is essential that