Part 3

The following words are easy to be acted:--

Back-bite. Com-fort. In-fan-tile. Pa-pa-cy. Fare-well. Car-pet. Bond-age. Ann-ounce. Sin-cere. No-bil-i-ty. Pen-i-tent. Bride-well. Brace-let. In-firm. Spec-ta-cles. Per-mu-ta-tion. Rail-way. Trans-mute.

8.--PROVERBS.

SAFE BIND, SAFE FIND.

_Safe._ An actor takes the part of a distracted mother, rushes around the room exclaiming, “My child is lost!” “He must be drowned!” &c. Soon one of the actors can rush in with a child, exclaiming, “Madam, your child is _safe_, but I found him in a little boat, floating out to sea;” other actors can rush in, all talking at once, some scolding the child, others rejoicing he is safe.

_Bind._ The one acting the part of mother can be seated with her work in her hands, and in her basket some rolls of old cotton. Three children can come in crying, one with a cut head (take some red paint, and make a splash on the forehead to represent blood), exclaiming, “O, dear, I’m killed, I know.” The other, limping and crying, “O, my foot is broken! O, dear! O, dear!” The other complaining of her hand, all talking at once. The mother must order them to talk one at a time, and she will bind up their wounds. Then she can take her rolls of cotton and bind up the injured parts.

_Safe._ The mother and children can be seated talking, when a knock comes at the door. One child opens the door and admits a pedler; after showing some trifles, he declares he has some wonderful money safes, and exhibits some boxes, and expatiates on the virtues of his safes. The mother can purchase one for each child.

_Find._ The same mother can be seated as usual, when the children must come running in, telling that one of their number has lost his safe. They all hunt for it, and look everywhere to find it, to no purpose.

_Safe bind, safe find._ The scene opens with a little girl tied into a chair, reading a book. The mother must come in arrayed for the street. On entering, she must exclaim, “I am thankful I have at last found a way to keep my child from being lost.” Then she must turn to the audience, and ask them if they can tell her the proverb. If they cannot guess, she must ask if she shall tell them. Sometimes the audience require time to talk it over before they are willing to own they cannot guess it.

* * * * *

One example will sufficiently illustrate the manner proverbs are acted. We will now give a list of some proverbs adapted for action.

Ill weeds grow apace. Little pitchers have large ears. Fine feathers make fine birds. Union is strength. Time unveils truth. Black cats have black kittens. Necessity is the mother of invention. All is not gold that glitters. Slow and sure.

9.--TABLEAUX VIVANTS.

Tableaux vivants, as commonly represented, are so well understood that no directions are necessary; but some of our readers may not have heard of the illustration of poems, &c., by a series of living pictures. This is far more interesting than simply to personify some one picture. Still another way is to represent the different verses and scenes in a song in pantomime, while at the same time some one who is a good musician sings the verses of the song, as they are represented. For instance, “The Mistletoe Bough;” first represent a room decorated with green, a company assembled, gayly dressed and dancing, while a lady or gentleman behind the scene sings the verse represented in distinct tones, and so on through the whole song; the last scene, representing children in a lumber-room opening an old chest, and exposing a skeleton, old flowers, &c. “Auld Robin Grey,” “The Three Fishers,” “O, they marched through the Town,” “She wore a wreath of Roses,” “The Minstrel’s Return from the War,” are all excellent ballads to represent.

10.--TABLEAUX OF STATUARY.

This is a new form of tableaux, and if well done, exceedingly beautiful.

To prepare and arrange groups of statuary requires artistic skill, patience, and steady nerves; the two last qualities are necessary for those acting as statues.

A lady who excels in preparing groups of statues, as we can testify, has kindly permitted us to give to the public her manner of preparing them.

First, some effective groups of statuary must be selected, and carefully examined. Then those persons who are willing to gratify their friends by acting as statues, can be arranged in the different groups according to their fitness; those acting as statues, require marked features, and in most groups fine figures to _build_ upon, as drapery conceals minor faults. All that can be prepared before the evening, are the head gear and the articles for drapery. A cap must be made of white linen or cotton, closely fitting the head. Take candle-wicking, and knit it on common sized ivory needles, wet it in hot water, and iron it dry. Then ravel it out, and cut it into the desirable lengths, and fasten it to the cap like a wig. When placed on the head, this candle-wicking can be arranged according to the statue to be represented, and it will resemble the hair carved in marble. If expense is not to be considered, the drapery should be made of cotton flannel, as it hangs heavier, and is more easily arranged than sheets, which are generally used to save expense. From three to four sheets are often required for the drapery of one person, as it is necessary to hang in such heavy folds to look like marble. One is usually doubled up and tied around the waist, the others folded, tied, and pinned, to resemble the drapery of the statue represented; rules are impossible to give, as the arrangement can only be made by an ingenious as well as an artistic person. Now comes the most disagreeable part, that of painting all exposed parts, such as neck, face, hands or feet, to resemble marble. First, common whiting must be mixed smoothly in water, the consistency of milk. This is put on with a shaving brush, and every part wholly covered with this preparation; let that nearly dry, then rub it in with the hand, then rub in lily white, to give the flesh, besides the whiteness of marble, the soft look of polished marble. The lips are finished at the last moment. Old white stocking legs drawn over the arms will save the trouble of painting them. Then the statues are ready to be grouped for exhibition. Any person who is nervous, restless, and easily inclined to laugh, cannot act as a statue. It is not possible to realize the beauty of such a group of living statuary, when well done, unless it has been once seen. We advise those attempting to get up exhibitions for the benefit of some charitable object, to try a few groups of living statuary; it is very effective to an audience.

11.--LIGHTS AND SHADES.

If you wish to throw the background of a tableau into shadow, place screens between the lights at the sides of the stage and that part of the picture you wish to have dark; _vice versa_ with the foreground. Particular points or characters may be more brilliantly lighted than others, by placing at the side of the stage a strong light within a large box, open at one side, and lined with bright tin reflectors.

Lights of different colors can be thrown successively on a picture, and made to blend one with another, by placing the various colored fires in boxes three feet square, one at one side, and lined with reflectors. Those arranged at the sides of the stage on pivots, can be turned on, one after another, so as to throw their light on the stage. Before one light has entirely vanished from the scene, a different color should gradually take its place.

=VENTRILOQUISM MADE EASY.=

Ventriloquism we always supposed, like many other arts, depended to a certain extent on natural talent, or was a peculiar gift.

Professional ventriloquists favor the idea that it is a natural gift, in order to enhance their profits. But boys of the present age are not so ready to believe in marvellous gifts, and may have persevered in trying to imitate famous ventriloquists, and to try was to succeed.

A friend of ours once met a boy only ten or eleven years old, who was an excellent ventriloquist, so far as the power of throwing the voice into a closet or adjoining room goes. On being questioned if he could explain the power he had, the boy said he had heard Harrington the ventriloquist some time previous, and having a desire to possess the same acquirement, he passed in practice in a garret all the spare time he could get for many days, and at the end of that time was fairly startled himself at hearing a voice come distinctly from an old chest of drawers.

The persevering little fellow had found out for himself the true theory.

We will give our young friends some plain and simple rules and directions how to acquire the power of ventriloquism, which we have obtained from a reliable English work; many persons following these rules have obtained proficiency in this art, according as they devoted time and attention to the subject. The word ventriloquism is derived from _venter_, the belly, and _loquor_, I speak; literally signifying, belly-speaking.

1.--WHAT IS VENTRILOQUISM.

Ventriloquism may be divided into two sections, or general heads, the first of which may be appropriately designated as Polyphonism, consists of the simple imitation of the voices of human creatures, of animals, of musical instruments, and sounds and noises of every description, in which no illusion is intended, but where, on the contrary, the imitation is avowedly executed by the mimic, among which we may classify sawing, planing, door-creaking, sounds of musical instruments, and other similar imitations.

Secondly, we have ventriloquism proper, which consists in the imitation of such voices, sounds, and noises, not as originally in him, but in some other appropriate source, at a given or varying distance, in any, or even in several directions, either singly or together, a process exciting both wonder and amusement, and which may be accomplished by thousands who have hitherto viewed the ventriloquist as invested with a power wholly denied by nature to themselves.

Polyphony is very common, for there is scarcely a public school which does not possess at least one boy capable of imitating the mewing of a cat, the barking of a dog, or the squeaking voice of an old woman. It is very seldom that even a blundering attempt at ventriloquism is heard, except from a public platform, simply from the want of knowledge of how to proceed. The art does not depend on a particular structure or organization of these parts, but may be acquired by almost any one ardently desirous of attaining it, and determined to persevere in repeated trials.

If a man, though in the same room with another, can, by any peculiar modifications of the organs of speech, produce a sound, which, in faintness, tone, body, and every other sensible quality, perfectly resembles a sound delivered from the roof of an opposite house, the ear will naturally, without examination, refer it to that situation and distance; the sound which he hears being only a sign, which from infancy he has been accustomed by experience to associate with the idea of a person speaking from the house-top. A deception of this kind is practised with success on the organ and other musical instruments.

The English Cyclopædia says “the _essence_ of ventriloquy consists in creating illusions as to the distance and direction whence a sound has travelled.” How these sounds are produced, we will now show.

2.--THE THEORY OF VENTRILOQUISM.

Many physiologists aver that ventriloquism is produced by speaking during the inspiration of air. It is quite possible to articulate under these circumstances, and the plan may be occasionally adopted; but the practical experience of many performers prove that the general current of utterance is, as in ordinary speech, during _expiration_ of the breath.

Some think ventriloquism comprises a management of the echoes; but echo only repeats what has been already spoken. Baron Mingon, a famous ventriloquist, had an automaton doll with which he could apparently converse. He thus describes his _modus operandi_: “_I press my tongue against the teeth, and thus circumscribe a cavity between my left cheek and teeth, in which the voice is produced by the air held in reserve in the pharynx_. The sounds thus receive a hollow and muffled tone, which causes them to appear to come from a distance.” The Baron says, “It is essential to have the breath well under control, and not to respire more than can be avoided.” Ventriloquists often experience fatigue in the chest, and have attributed it to the slow expiration of the breath. Some are often compelled to cough during the progress of exercitation.

To attain an exact and positive knowledge of the modifications of voice specified as ventriloquism, it is important to be familiar with the distinctions of the sounds uttered by the mouth; and to ascertain how the organs act in producing those vocal modifications, it is necessary to know how the breath is vocalized in all its distinctions of pitch, loudness, and quality, by the ordinary actions of the vocal organs. In ordinary language we speak of noise, of common sound, and of musical sounds. A quill striking a piece of wood causes a noise, but striking successively against the teeth of a wheel, or of a comb, a continued sound, and if the teeth of the wheel are at equal distances, and the velocity of the rotation is constant, a musical sound.

Phonation, or the production of voice, is a result of actions taking place under two distinct classes of laws, namely: the ordinary mechanical laws of acoustics, and the physiological laws of muscular movement. The adjustment of the vocal mechanism to be brought into operation by the current of air, is made by actions, under the latter laws; and phonation is the result of the reaction of the mechanism on the current of air by mechanical movements under the former laws. Now the pitch of the voice essentially depends on the tension of the vocal ligaments; the loudness on the extent of the excursion of these ligaments in their vibrations; the duration on the continuance of the vocalizing causes; the equality on the organization of the larynx, and also on the form and size of the vocal tube. The form and size of this tube can be altered in various ways. For instance, by dilating or contracting the mouth; by contracting the communication between the pharynx and mouth, so as to constitute them distinct chambers, or by dilating the opening so as to throw them into one, which is chiefly attained by movements of the soft palate, and by altering the form of the mouth’s cavity, which is effected by varying the position of the tongue. Each of these modifications of the vocal tube conveys a peculiarity of quality to the voice, all, however, being local or laryngeal sounds. Moreover, sounds can be produced in the vocal tube, apart from the larynx. These, strictly speaking, are not vocal sounds, though some of them may be of a definite and uniform pitch, while others are mere noises, as rattling, whispering, gurgling, whistling, snoring, and the like. Now, as everything audible comes under the classes of noise, sound, or musical sound, and as each variety originates in the vocal apparatus of man, it is obvious that _an ordinary vocal apparatus is all that is required_ for the achievement of the feats of ventriloquy.

A person in a house cannot judge by the noise of an approaching carriage, with any certainty, whether it is coming from the right or left. Thus it is in many other sounds. _But we judge the direction sound has travelled from its source on reaching the ear._ The ventriloquist indicates, either directly or indirectly, the direction from which he wishes his audience to believe the sound is coming. Thus he directly indicates it by words, such as, “Are you up there?” “He is up the chimney,” “He is in the cellar,” “Are you down there?” &c. He indirectly indicates it by some suggestive circumstance, as an action or gesture, which is so skilfully unobtrusive and natural as to effect its object without being discovered. Thus, when the ventriloquist looks or listens in any direction, or even simply turns towards any point, as if he expected sound to come thence, _the attention of an audience is by that means instantly directed to the same place_. Thus, before a sound is produced, the audience expect it to come in the _suggested direction_, and the ventriloquist has merely by his _adjustment of vocal loudness_, to indicate the necessary distance, when a _misjudgment of the audience will complete the illusion which he has begun_.

The effect which is produced on sound by its travelling from a distance, is observed to be,--

1. That its loudness is reduced in proportion to its distance.

2. That its pitch remains unaltered.

3. That its quality or tone is somewhat altered.

4. That its duration remains unaltered.

5. That the human speech is _somewhat obscured_, chiefly in the consonant sounds.

It must be remembered that the ventriloquist makes the sound, not as it is heard at its source, _but as it is heard after travelling from a distance_.

Too much attention cannot be bestowed on the _study of sound as it falls on the ear_, and an endeavor to imitate it as it is heard, _for the secret of the art is, that as perspective is to the eye, so is ventriloquism to the ear_. When we look at a painting of a landscape, some of the objects appear at a distance, but we know that it is only the skill of the artist which has made it appear as the eye has seen it in reality. In exactly the same manner a ventriloquist acts upon and deceives the ear, by _producing sounds_ as they are heard from any known distances.

We have given the acoustical theory of the effect on the auric nerve, and the means are the organs of respiration and sound with the adjoining muscles. The organs and muscles used are the diaphragm, the lungs, the trachea, the larynx, the pharynx, and the mouth.

3.--PRACTICAL RULES AND ILLUSTRATIONS.

The first voice a student of ventriloquism will strive to acquire is what is called “The voice in the closet.” To acquire this voice, which we so name for distinction’s sake, speak any word or sentence in your own natural tones; then open the mouth, and _fix the jaws_ fast, as though you were trying to hinder any one from opening them farther, or shutting them; draw the tongue back in a ball; speak the same words, and the sound, instead of being formed in the mouth, will be formed in the pharynx. Great attention must be paid to holding the jaws rigid. The sound will then be found to imitate a voice heard from the other side of a door when it is closed, or under a floor, or through a wall. To ventriloquize with this voice, let the operator stand with his back to the audience, against a door. Give a gentle tap at the door, and call aloud in the natural voice, inquiring, “Who is there?” This will have the effect of drawing the attention of the audience to a person supposed to be outside. Then fix the jaw as described, and utter in the “closet voice” any words you please, such as, “I want to come in.” Ask questions in the natural voice, and answer in the other. When you have done this, open the door a little, and hold a conversation with the imaginary person. As the door is now open, it is obvious that the voice must be altered, for a voice will not sound to the ear when a door is open the same as when closed. Therefore the voice must be made to _appear_ face to face, or close to the ventriloquist. To do this, the voice must not be altered from the _original note or pitch_, but be made in another part of the mouth. This is done by closing the lips tight and drawing one corner of the mouth downwards, or towards the ear. Then let the lips open at that corner only, the other part to remain closed. Next, breathe, as it were, the words out of the orifice formed.

Do not speak distinctly, but expel the breath in short puffs at each word, and as loud as possible. By so doing you will _cause the illusion_ in the mind of the listeners that they hear the same voice which they heard when the door was closed, but which is now heard more distinctly and nearer on account of the door being open. This voice must always be used when the ventriloquist wishes it to appear that the sound comes through an obstacle, but from some one close at hand.

The description of voice and dialogue may be varied, as in the following example:--

“The Suffocated Victim.” This was a favorite illustration of Mr. Love, the Polyphonist.

A large box or closed cupboard is used indiscriminately, as it may be handy. The student will rap or kick the box, apparently by accident.

The voice will then utter a hoarse and subdued groan, apparently from the box or closet.

_Student._ (Pointing to the box with an air of astonishment.) What was that?

_Voice._ O, let me out!

_Student._ Why! there is some one in here, I declare (to box). Who is it?

_Voice._ I won’t do so any more. I am nearly dead.

_Student._ Who are you? How came you there?

_Voice._ You know very well who I am. Let me out! Let me out!

_Student._ I tell you I don’t know you.

_Voice._ O, yes, you do.

_Student._ Tell me quick. Who are you?

_Voice._ Your old school-fellow, Tom ----; you know me.

_Student._ Why, he’s in Canada.

_Voice._ (Sharply.) You know better; he’s here; but be quick.

_Student._ (Opening the lid.) Perhaps he’s come by the underground railroad. Hallo!

_Voice._ (Not so muffled as described in direction.) Now, then, give us a hand.

_Student._ (Closing the lid or door sharply.) No, I won’t.

_Voice._ (As before.) Have pity (Dick, or Mr. ----, as the case may be), or I shall be choked.

_Student._ I believe you are a humbug.

_Voice._ Why don’t you let me out and see, before I am dead?

_Student._ (Opening and shutting the lid or door, and saying, the voice accordingly.) Dead! not you. When did you leave Canada?

_Voice._ Last week. O, I am choking!

_Student._ Shall I let him out? (Opening the door.) There is no one here.

Conversations can be held with pedlers at the door, or with some one in the cellar or basement; and as a rule the lower notes of the voice will be best for voices in the basement, and formed as low in the chest as possible.

The second kind of voice, or voice No. 2, we will call it, is more easy to be acquired. It is the voice by which all ventriloquists make a supposed person speak from a long distance, or from or through the ceiling. In the first place, with your back to the audience, _direct their attention_ to the ceiling, _by pointing to it_, or by looking intently at it. Call loudly, and ask some questions, as though believed a person to be concealed there. Make your own voice very distinct, and as near the lips as possible, as that will help the illusion. Then, in _exactly the same tone and pitch_, answer; _but, in order that the voice may seem to proceed from the point indicated, the words must be formed at the back part of the roof of the mouth_. To do this, the lower jaw must be drawn back and held there, the mouth open, _which will cause the palate to be elevated and drawn nearer to the pharynx_, and the sound will be reflected in that cavity, and appear to come from the roof. Too much attention cannot be paid to the manner in which the breath is used in this voice. When speaking to the supposed person, expel the words with a deep, quick breath.