The chief difficulty presented to the learner of Near Ventriloquism is caused by the necessity of keeping the muscles of the lips and face immov­able. While carrying on a dialogue with his "dummies," the ventriloquist usually addresses his questions to them in the ordinary voice; but when the figures seem to answer there is no movement discernible of the face and lips, the mouth remaining nearly, but not quite, closed and the lips parted in the natural manner of an interested listener.

The acquirement of this ability to speak with­out moving the lips is the first thing to be ac­complished, and although it may seem impossible at first, if the student is faithful in his practice it will not prove to be so difficult a matter after all. Now to begin.

Standing before a mirror, close the lips until they are from one-eighth to one-quarter of an inch apart,and while keeping the jaws rigid try to say the letter "A." The teeth may touch each other or they may be slightly parted. You will find that you can make the letter clearly without trouble. Then try in succession "E," "I," "O" and "U." You will be gratified to find that these also present no difficulty. This is so be­cause, as you know, they constitute the vowels, or unobstructed sounds, of the English language, and thus require no movement of the lips. They may be indefinitely prolonged as in a-a-a-a-a-a-a-a, e-e-e-e-e-e-e-e, etc. There are a greater number of vowels than are usually admitted in writing; in fact, it is possible to considerably add to them by giving to some of the letters ordinarily classed as consonants, or obstructed sounds, a slightly more closed or more open sound.

When you attempt "B" however, you will meet with difficulty; the same will be the case with "P." Words in which these two letters occur must therefore be used as little as possible. When it is impossible to avoid such words, sub­stitute some sound closely approximating that required. For instance, "Vhee," which can be pronounced without movement of the lips after a little practice, may be used in place of "B"; and "Fee" for "P." "A big piano" would be spoken "A vig fiano." Being combined with other letters in words occurring in sentences the meaning of which is perfectly clear, such substi­tutions are hardly perceptible to the listeners, and the ventriloquist arranges his dialogue in such manner that where there is danger of being mis­understood or not understood at all, the same words may be immediately repeated in the ques­tions which he asks his figures. This accounts for much of the unnecessary repetition notice­able in dialogues intended for ventriloquial use, and it also accounts for the fact that low comedy characters are nearly always represented by the figures. Fine enunciation and perfect pronunci­ation are not expected from such persons, and on hearing the doubtful words repeated the auditor at once jumps to the conclusion that they were rightly pronounced in the first place. Consider­able latitude is also allowed the performer in his use of grammar, as the figures do not represent people who are supposed to be educated. In his own questions his grammar should, of course, be faultless, but he may use ungrammatical expres­sions in the speeches of his figures with impunity, as such expressions are not at all "out of character," and are indeed necessary to make the dialogue realistic.
In the dialogues given further on, the ventriloquial method of pronouncing words containing troublesome letters will be indicated where neces­sary, but before leaving this topic it may be stated that some of the letters which appear hard at first may be very closely imitated with im­movable lips by assiduous practice. Examples are "H" and "N." "M," on the contrary, can never be given perfectly without moving the upper lip, and "Eng" or its modifications can be substituted. For instance, the word "amusing" would be pronounced ventriloquially as if spelled "ang-yuzing." The "n" being reinforced by the "y" gives a sound very close to the right one.

"C" and "D" are easy, as are most words containing these letters, provided they are not in combinations which are themselves difficult to pronounce.

"F" makes a sound of the breath striking the teeth, but if slightly prolonged the difference is hardly noticeable.

"G," "I," "K " and "L" offer no difficulty, and "Q," "R," "S" and "T" give little trouble.

"V" should be slightly prolonged as in the case of "F," and be well practiced.

"W" is pronounced as "duggle-you," while "X," " Y " and " Z " can be readily spoken.

This exercise should be gone through with over and over again before a mirror, until every letter can be pronounced, in accordance with these in­structions, without movement of the lips. Watch yourself carefully, and should you detect any movement at any time while pronouncing, stop at once and give extra attention to the letter until the movement is no longer perceptible.

The student is now ready for actual work with the throat in the production of the different voices required infigure working.

First comes the "Punch" voice which, as its name indicates, is a close imitation of that used for the puppet Punch in "Punch and Judy" shows. A Punch and Judy performer uses a little instrument (made by winding a narrow piece of cloth or tape over and between two curved pieces of tin) to produce this voice, but this is not allowable for a ventriloquist who stands in full view, and the voice must therefore be produced naturally.

To do this, recall just how the Punch voice sounds or take the first opportunity to listen to a good Punch and Judy performer; or think of the higher notes of a clarionet or the sound of a squeaking door. Then bring the teeth together and stretch the tongue until it touches the roof of the mouth near the back of the front upper teeth. Then say, "Judy, Judy, where are you, Judy?" in as high a tone as you can command. The position of the tongue throws the sound into the cavity of the nose, thus imparting to the voice the strong nasal quality which is needed. It also has the sound of a high-pitched reed in­strument, and the more reedy and metallic you can make it the better.

If the student has difficulty in getting just the right tone, place the tongue as before and say "Th-e-e-e-k," prolonging the "e's" and thinking of the punch voice or the sound made by a clar­ionet, as before.

This voice is utilized for the speech of a queru­lous old woman and for the imitation of ordinary instruments, the crowing of a bantam, the talk of a parrot, the sound of a mandolin string, the voice of a young child, the mewing of a cat, the bleating of a lamb, etc.

In a little lower key, and less nasal in quality, it may be used for either the Irish or the Negro figure. If you can produce it easier than you can the graver voices, adopt it for the fig­ure which carries on most of the dialogue, and vice versa if the deeper voices are more easily made. Always favor yourself in little ways like this as much as possible, as you can do best that which requires the least effort.

When once you have acquired facility with the Punch voice, repeat the easy letters of the alpha­bet in that voice slowly and carefully. Then, after a few minutes' rest, run them over again, first saying the letter in your natural voice and then in the Punch voice, and so on—alternating each letter in your ordinary tone with the same one in that of Punch. By this means you ac­custom your throat to instant change from one voice to another.

When you can go through this exercise with ease you may try the following dialogue at a curtain or a Japanese screen:
Vent. "You may not be aware of it, ladies and gentlemen, but I have reason to believe that there is an old woman behind this curtain (or screen)." (You say this with your face turned squarely toward the imaginary audience, then turning toward the screen say quickly in the Punch voice.) "What do ye call me?"
Vent. "An old lady, I should have said. I beg pardon."
O. L.  "Ye can't beg ennything uv me."
Vent. "Oh, you misunderstand me."
O. L. "No, I understand ye too well."
Vent. "Well, never mind, can you sing?"
O. L.    "I dunno."
Vent. "Will you try?"
O. L. "No. I was tried once and didn't like it."
Vent. "Why, who tried you?"
O. L. "Judge ---" (Name of some well known local judge.)
Vent. "I didn't mean that."
O. L. "He did."
Vent. "What did he try you for?"
O. L. "Cuz I made a speech."
Vent. "What, you make a speech! What did you say?"
O. L. "I said, Not guilty.'"
Vent. "That was a very short speech."
O. L. "Yes, but he guv me ten days for say­ing that."
Vent. (laughing). "I see you will have your joke. But come now, I want you to sing," {Puts hand behind curtain.)
O. L. "Take your arm away. I know you."
Vent. "I was only ——"
O. L. "Yes, I know all erbout it, so don't do it again."
Vent. "Will you sing ? "
O. L. "Yes, I'll sing out if you put your arm around my—eh?" — (as Vent .puts his head quickly behind curtain as if to expostulate) "oh, I didn't know there was enny one there. Yes, I'll sing." (Sings.)
"I dreamt I dwelt in marbil’alls
With tassels and scarfs by my side―"
Vent. "Vassals and serfs."
O. L. "Tassels and scarfs."
Vent. "Vassals and—"
O. L. "If you know so much you'd better sing it yerself."

Now this dialogue may not seem very brilliant in cold type, but if it is rightly done it will have a good effect and prove amusing. After learning it thoroughly and giving it considerable practice, the student may venture to try it before his own family and if they aver that it is "not so bad" he can begin to astonish his friends and acquain­tances, and thus make a start toward acquiring fame as a ventriloquist even while he is learning.

In order to be successful he should choose a large room for his exhibition and seat the audi­ence as far from the screen or curtain as he can—the farther the better, for in ventriloquism "Distance lends enchantment" to the illusion. It is for this reason that a performer succeeds in deceiving and amusing his listeners with much better effect in a large hall or theatre than in a room, although it can be done in the latter, pro­vided it is not too small.

Never have the audience less than six feet away, and eight or ten would be better. Where two rooms can be thrown into one by means of folding-doors, insist that this be done and have one of the rooms entirely to yourself, the audi­ence being seated in the other. Ventriloquists dislike to perform in small, crowded rooms, and it is often difficult to persuade even the best of them to do so.

Assume an air of perfect self-possession, and having seated the audience as described, stand within a foot or two of the screen and make your first bow as a ventriloquist. Put your whole heart into your work and try to imagine that there is really an old lady behind the screen whose personality is wholly distinct from yours. Act as you naturally would if you were talking to such a person, and do not rush through the dialogue as if you were in a hurry to catch a train. Stand in an easy attitude with your face partly turned toward the audience, and let your eyes dwell upon the screen whenever the ficti­tious old lady is speaking.

Probably the first desire of the student of "Near" after he has begun to ventriloquize will be to possess a mechanical figure, for the use of such a puppet tends to give added interest to his practice and also a greater self-confidence in his early performances. With such a figure on his knee he can make his early essays in the art of entertaining with fewer misgivings than would otherwise be the case.

But all students perhaps cannot afford to pur­chase a figure at the outset, and to such I would recommend the "talking hand," one which can be arranged in a few moments' time and at no expense whatever.

In Figure 1 is shown the method of arranging the fingers so as to form the doll's head with the hand. With the palm of the right hand toward the ground the thumb is doubled at the first joint and hidden under the fingers, which are bent at the second joint and curved as in "A." Then by coloring the upper part of the thumb and the lower part of the first finger with deep red, the lips are formed, the thumb being moved up and down to give the motion of the lower jaw. A few charcoal lines for the nose and eyes above the mouth and the figure is complete. If placed behind a small square frame with a round open­ing in the centre, the illusion is almost perfect a short distance away. The circle of the frame, which may be made of pasteboard, should be just large enough to allow the thumb to work and conceal the ends of the fingers.

A

A still better effect may be produced by wrap­ ping a handkerchief or napkin around it in the form of a hood or cloak, or a stiffly-starched frill may be sewn to a wire ring, to the back of which (and at right angles to it) is a loop just large enough to-go around the hand. The front of the hand, with its face and cap, would then appear as shown in "B," Figure 1.

B Fig.1

With this easily made substitute for a genuine figure, the stu­dent may give the dialogue for the old lady behind the screen, which may be changed by the addition of suitable material of his own or by appropriating some of the matter given in the various dialogues further on.