Theatrical and Circus Life: or, Secrets of the Stage, Green-Room and Sawdust ArenaJennings, John J. (John Joseph)
History
Theatrical and Circus Life: or, Secrets of the Stage, Green-Room and Sawdust Arena
Jennings, John J. (John Joseph)
Circus; Theater -- United States
When answering in the imitative manner, the breath must be held
back and expelled very slowly, and the voice will come in a subdued
and muffled manner, little above a whisper, but so as to be well
distinguished. To cause the supposed voice to come nearer by degrees,
call loudly, and say, "I want you down here," or words to that effect.
At the same time make a motion downwards with your hand. Hold some
conversation with the voice and cause it to say, "I am coming," or
"Here I am," each time indicating the descent with the hand. When the
voice is supposed to approach nearer, the sound must alter, to denote
the progress of the movement. Therefore let the voice at every supposed
step, roll, as it were, by degrees, from the pharynx more into the
cavity of the mouth, and at each supposed step, contracting the opening
of the mouth, until the lips are drawn up as if you were whistling.
By so doing the cavity of the mouth will be very much enlarged. This
will cause the voice to be obscured, and so appear to come nearer by
degrees. At the same time, care must be taken not to articulate the
consonant sounds plainly, as that would cause the disarrangement of
the lips and cavity of the mouth; and in all imitative voices the
consonants must scarcely be articulated at all, especially if the
ventriloquist faces the audience. For example: suppose the imitative
voice is made to say, "Mind what you are doing, you bad boy," it must
be spoken, as if it were written, "'ind 'ot you're doing, you 'ad
whoy." This kind of articulation may be practised by forming the words
in the pharynx, and then sending them out of the mouth by sudden
expulsions of the breath clean from the lungs at every word. This is
most useful in ventriloquism, and to illustrate it we will take the man
on the roof as an illustration. This is an example almost invariably
successful, and is constantly used by skilled professors of the art.
As we have before repeatedly intimated, the eyes and attention of the
audience must be directed to the supposed spot from whence the illusive
voice is supposed to proceed:--
Student: Are you up there, Jem?
Voice: Hallo! who's that?
Student: It's I! Are you nearly finished?
Voice: Only three more slates to put on, master.
Student: I want you here, Jem.
Voice: I am coming directly.
Student: Which way, Jem?
Voice: Over the roof and down the trap. (Voice is supposed to be
moving, as the student turns and points with his finger.)
Student: Which way?
Voice (nearer): Through the trap and down the stairs.
Student: How long shall you be?
Voice: Only a few minutes. I am coming as fast as I can.
The voice now approaches the door, and is taken up by the same tone,
but produced as in the first voice.
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Public-domain text, read in full here on John Shaqi.
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