I love anything to do with ventriloquism and magic.
There exists a species of transcendental ventriloquism by means of which men can be made to believe that something said on earth comes from Heaven.
Channeling is just bad ventriloquism. You use another voice, but people can see your lips moving.
But the mechanics of learning to 'throw your voice' are pretty simple. Anyone with a tongue, an upper palate, teeth, and a normal speaking voice can learn ventriloquism.
When I was in third grade I taught myself ventriloquism... What's hard is to learn to be an entertainer and make people laugh. I was a few years out of college before I felt I had enough material. Then in 1988 I moved to L.A. and started to do some shows at comedy clubs.
My mom was a ventriloquist and she always was throwing her voice. For ten years I thought the dog was telling me to kill my father.
Here's something you never hear: Now that I've worked through all my emotional issues, I'm free to dedicate my life to ventriloquism!
Magic in cinema is a bit like ventriloquism on the radio.
I looked into studying psychoanalysis, wrote to the governing body and was about to start the year where they psychoanalyse you, four times a week, before you get to do it yourself. I just thought I'd taken the ventriloquism as far as I could. My act is so deconstructive, and I'd made all the monkey jokes anyone wanted to hear.
The only way a ventriloquist speaks differently is that he forgoes using his or her lips, and learns to reproduce sounds using the tongue, upper palate, and teeth only. Those 'difficult' letters are B, F, M, P, V, W, and Y.
I do laugh when I hear myself saying, 'I am a ventriloquist.' I am definitely suited to it, though. I took it and ran with it quite hungrily. It is not for everyone, but it is just the chance to write for a character.
It's true, you can never eat a pet you name. And anyway, it would be like a ventriloquist eating his dummy.
I was a kid in the third grade ... saw a dummy in the toy store. In the '60s and '70s there were a lot of those vinyl ventriloquism dummies - just about every toy store had one. Everyone close to my age that I've talked to, especially guys for some reason, tell me that they had one too, but they said they never could do it. So many people come up to me and say that. It was just something that I thought was cool. I started doing book reports with it - I developed the skill. I easily got A's on all my reports. It was just something that a little kid grasped on to - so I stuck with it.
I remember as a kid watching TV and seeing Mel Blanc doing his voices and Paul Winchell doing his ventriloquism and thinking, 'Those guys are having a good time. I want to do that.'
I always loved putting on shows - when you're the youngest of seven and five are older sisters, you've got to get noticed somehow! I did puppet shows and magic shows... even ventriloquism. My doll's name was 'Dan,' and I used to write these scripts, and my schoolmate hid under the table and supplied Dan's voice.
To Forget Venice is a tour de force of ventriloquism. Elegant, contemporary, and wry, the voice at its center is also capable of disarming flights of imagination as it enters and inhabits other lives across time and gender. The glittering, fetid city emerges as a complex metaphor for the human heart’s simultaneous tenderness and capacity for cruelty, its ‘silver glow / a local specialty: filth / disguised as ornament.’ This Venice is unforgettable.
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