In their quest to become a ventriloquist, the student must work with the throat in producing the different voices required in figure work.

First comes the voice of “Punch” which, as the name implies, is a close imitation of the one used for the Punch puppet in the “Punch and Judy” shows. A Punch and Judy player uses a small instrument (made by wrapping a narrow piece of cloth or tape between two curved pieces of tin) to produce this voice, but this is not allowed for a ventriloquist who is in sight, and the por Therefore, the voice should be produced naturally.

To do this, remember what Punch’s voice sounds like or take the first opportunity to listen to a good Punch and Judy performer; or think of the highest notes of a clarinet or the sound of a creaking door. Then bring your teeth together and extend your tongue until it touches the roof of your mouth near the back of your upper front teeth.

Then say, “Judy, Judy, where are you, Judy?” in as loud 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 that is needed. It also has the sound of a high-pitched reed instrument, and the more flutey and metallic you can make it, the better.

If the student has difficulty getting the pitch right, position the tongue as before and say “Th-eeek”, prolonging the “e’s” and thinking of the thumping voice or sound made by a clarinet, as before.

This voice is used for the speech of a querulous old woman and for the imitation of ordinary instruments, the crowing of a rooster, the chattering of a parrot, the sound of a mandolin string, the voice of a small child, the meow of a cat, the bleating of a lamb, etc.

In a slightly lower tone and less nasal quality, it can be used for an Irish or Negro figure. If you can produce it more easily than the lower voices, adopt it for the figure who does most of the dialogue, and vice versa if the lower voices are more easily done. Always take advantage of little things like this as much as possible, since you can do better what requires the least effort.

When you are just beginning to learn how to become a ventriloquist, once you have gotten comfortable with the Punch voice, repeat the easy letters of the alphabet in that voice slowly and carefully. Then, after a few minutes’ rest, repeat them again, saying the letter first in your natural voice and then in the Punch voice, and so on, alternating each letter in your ordinary pitch with the same one in Punch’s. This way you get your throat used to instantly switching from one voice to another.

When you can easily do this exercise, you can try a little dialogue on a Japanese curtain or screen:

Wind. “You may not realize it, ladies and gentlemen, but I have reason to believe there is an old lady behind this curtain (or screen).” (You say this with your face turned directly toward the imaginary audience, then turning back to the screen and say quickly in Punch’s voice.) “What do you call me?” A short and fun conversation should then follow.

Now, the dialogue may not seem very bright, but if it’s done well, it will have a good effect and be fun. After learning it thoroughly and practicing it considerably, the student can venture out to try it on his own family and if they say that it is “not so bad”, he can begin to amaze his friends and acquaintances and thus begin to acquire knowledge. fame as a ventriloquist even while he is learning.

It is now ‘on the way’. know how to become a ventriloquist.