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Magic For the Ventriloquism Dummy

By: Jimmy Cox

The student will be eager to add to his accomplishments the power of fetching a voice for his ventriloquism dummy from a box or trunk and through the walls or ceiling of a room, and even from the cellar. You must first obtain the ability to make the ventriloquial drone-which is the foundation of all distant sounds. To acquire the ability to make this drone, take a deep breath and, while holding it, make a retching sound at the back of the throat as if (to put it delicately) trying to be sick. As you do this utter a prolonged "Ah," exhaling slowly.

At first the "ah" will very likely be little more than a grunt, but by trying again and prolonging the sound as you make a greater effort, the exclamation will begin to sound like an uncertain drone, finally settling down to a clear, sustained hum like that of a distant bee drone, from which it derives its name. Having already obtained the ability to make the ventriloquial drone-which is the foundation of all distant sounds-the attainment of other desired effects presents no special difficulty.

For the box or trunk, the voice of the ventriloquism dummy should sound hollow and quite loud, though somewhat obscure. Additional realism is given this voice when using it in public by occasionally lifting the cover of the box while speaking ventriloquially, the movement being accompanied by a corresponding change in tonal quality or strength. This greatly helps to make the illusion effective. In other words, as the lid is gradually lifted, the sound must be heard more distinctly, until when the cover is raised to its full extent the voice should come out full and strong, although still retaining its distinguishing characteristics.

To affect this, it is necessary to cause the tones to gradually roll forward, as it were, from the middle of the throat to the extreme forward part of the mouth, where confined by the closed teeth and the partly closed lips it will still retain enough of its muffled, hollow quality to preserve the deception. In closing the box the method is reversed, the tones being gradually forced backward to their first position.

At first you will find it hard to use other than the ventriloquial voice from the time the cover is raised until it is closed, but this difficulty can be overcome by practice. You can hold a conversation with the fictitious person inside before you open the box, or even with it open if you allow the lid to remain up while doing so; but as there is a constant change in tone while the lid is in motion it is evident that the introduction of your natural voice renders the feat rather formidable.

In fact, most performers are content to let well enough alone and not attempt the interruption while the movement is in progress, and I am not so sure but that the effect is more impressive with this mode of procedure than might otherwise be the case.

Study the way to make the voice of the ventriloquism dummy real, and you will add an exciting dimension to your shows.

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