I Can See Your Lips Moving, the history and art of ventriloquism.

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Opposite: A knee figure made Louis Grannat from Brooklyn, N.Y. around 1895.

The mouth movement is operated by depressing the spring attached to the lever through the back of the neck. (see side view below)

WIZARDS THAT PEEP AND MUTTER

‘Now you see it, now you don’t. The hand is quicker than the eye’. This adage of the eye’s vulnerability to deception is familiar to us all. Through their special skills and techniques, magicians take advantage of our visual senses and their tricks and illusions have delighted and baffled observers for thousands of years.

In ancient times, although magic was sometimes enjoyed as a source of amusement, it played a large and important part in many religions. Priests sought keenly after its knowledge believing it to be the faculty whereby they could summon the spirits of their gods. It was a coveted science that, if acquired by man or priest, was thought to be limitless; controlling unseen powers and subordinating them to man’s own will.

Magic was to the ancient priest what prayer is to the worshipper, an agent of persuasion and communication through which man sought to obtain all things that were not procurable by simple means.1 It is evident that ancient priests took themselves and their magic very seriously. However, because this magic was mysterious by its very nature, trickery was inevitable and clever charlatans took advantage of the superstitions held by

Below: A ventriloquist using two knee figures in the early 1900’s.

Note the position of the hands around each neck of the figures, so placed as to allow the ventriloquist to move the figures mouth with his thumb by means of a lever protruding from the back of the neck.

An artist’s reconstruction showing how acoustic tubes were used to make images speak.

many. The Greek writer Lucian reports an example of this deception. In 150 AD, Alexander of Abonoteichus astonished observers when he displayed a speaking serpent with a human head, claiming it to be a god incarnate.

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Lucian of Samosata who exposed the false oracles of Alexander of Abonoteichus that were delivered through Glyon a snake glove puppet that Alexander had contrived.

Below: A marble statue of the Glyon that was unearthed in Romania.

(2nd century AD)

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Facing: A group of figures made by Len Insull. 1940 -1950’s (composite). All have a leather mouth movement and either balanced or manually-operated eyes. In addition, some of these figures move their ears, smile and wink each eye independently.

DIABOLICAL WITCHCRAFT AND VENTRILOQUI

Throughout the Middle Ages, ventriloquism remained a topic of discussion in theological debates and treatises, largely with regard to the witch of Endor.

In 850 AD, Photius, the patriarch of Constantinople, wrote, ‘It is a wickedness lurking in the human belly and deserving to dwell in the cesspool, an impure breath which so many people, on account of their overwhelming pity, call ventriloquism’.1 The staunch position by the church associating ventriloquism with witchcraft and demonology undoubtedly caused its suppression, and it is not without reason that we find little mention of ventriloquism being practiced during this period.

When Constantine embraced the church in the third century, divination and occult practices were forbidden.2 This suppression continued, growing fiercer, until in the thirteenth century, a spirit of religious persecution towards paganism caused the inhumane practice of witch-hunting.

People who were crippled or deformed with age could be worth twenty shillings to a witchfinder, and individuals who were caught exercising any kind of

Below: Boy ventriloquist Jack Riley performing with an Insull figure Danny which is also shown on the right side of the picture opposite. (1950)

Above: Henry VIII and Anne Boleyn.

Facing: Elizabeth Barton, the Holy Maid of Kent, whose ventriloquial utterances against the marriage of Henry VIII and Anne Boleyn resulted in her execution.

unusual practice, whether for their own amusement or not, were often sentenced to death. Thousands of people suffered during those dreadful days between the thirteenth and the seventeenth centuries, and ventriloquism is often mentioned as being part of the magical practice of witchcraft.

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Facing: Black figure made by William Henry James Shaw in 1895.

Shaw was a prolific American figure maker from 1890 to 1920. This charming boy figure is made of paper mache with a leather mouth movement, painted green eyes, and wooden carved hands.

VOCAL GYRATIONS

Ventriloquism had become a familiar amusement by the middle of the nineteenth century, although its practice was still misunderstood. Many believed that the ventriloquist was endowed with a supernatural gift that enabled him to ‘throw his voice’. This expression, which had become a catchphrase associated with the art, was largely propagated by Henry Cockton’s novel The Life and Adventures of Valentine Vox*, the Ventriloquist.1 Unlike his many real-life contemporaries, Valentine Vox did not indulge his talent for stage presentation, but instead constantly performed superhuman ventriloquial feats that either confused the populace or managed to save the day.

First published in 1840, the book became extremely popular. The London Times said, ‘It would keep the most melancholy reader in side-shaking fits of laughter’. It was delightfully illustrated with 60 pictures

by Thomas Onwyn.2 Although Henry Cockton wrote very little about the art or about ventriloquists themselves, it is evident that he drew much of his inspiration from the numerous anecdotes about them, in particular those concerning Alexandre Vattemare.

* from which the author of this work took his name.

Below: John W. Cooper (1902) who presented a interracial variety of figures in his scena which included a civil war amputee.

Ventriloquist William Edward Love, who prefered to call himself a polyphonist.

The fictional character Valentine Vox as he appeared in the novel by Henry Cockton in 1840. Valentine Vox (right) mischievously throws his voice up the chimney.

The most prominent exponent of ventriloquism to appear during this period was William Edward Love, who preferred to call himself a ‘polyphonist’.3 His powers of mimicry were said to be on a par with those of Vattemare, who had set a precedent in the art.

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Facing: Fats the sinister boy character created

by Gizmo Labs for the 1978 movie ‘Magic’.

Movements: upper and lower jaw, stick out tongue, fully rotating eyes, blinkers, eyebrowns, ears.

PINOCCHIO BECOMES A BOY

Although variations were often introduced, the use of a group or row of figures was the accepted format for the ventriloquial act. However, in 1896, this familiar pattern was changed when a young man named Fred Russell walked onto the stage of London’s Palace Theatre, carrying a single figure that he sat on his knee.

The dummy, an impudent costermonger named Joe, immediately captured the audience with his brazen cockney humor.

This form of presentation, using a single figure rather than multiple characters, in comedy-team routine changed the ventriloquial style of entertainment, and Fred Russell became known as the ‘father of modern ventriloquism’.1 Russell’s enormous success was not due to his use of a single figure rather than mutiple ones, more important was his format, a pattern that most ventriloquists have followed ever since. Dispensing with the row and displays of technique, Fred Russell presented a fastmoving comedy-team act with himself playing the straight man, or feed, to Coster Joe, elevating his sidekick to a place of prominence, a place that ventriloquial

Below: Anthony Hopkins as Corky with Fats in the movie ‘Magic’. (1978.)

Fred Russell who was dubbed ‘the father of modern ventriloquism’ because of his presentation using a single figure and creating a ventriloquial comedy team with his partner Coster Joe

figures have held over their human partners ever since. From this point on, the personality of the figures overshadowed that of the ventriloquists whose vocal skills became subordinate to human partners.

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A Playbill of Fred Russell in the starring position with Coster Joe.

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Facing: Edgar Bergen and Charlie McCarthy.

This celebrated duo became famous through their weekly radio show, which was listened to by millions in the 1930s and 1940s.

(Photograph by Ray Lee Jackson.)

VOICES IN THE AIR

In the same year that talking pictures were introduced, a young American ventriloquist made his debut on the English stage at London’s Holborn Theatre in a sketch called ‘The Operation’.1 At the time, the act went almost unnoticed by the critics, although it was well executed by the ventriloquist who played a concerned doctor trying to convince his small pug-nosed figure that his tonsils needed extracting.

Few could tell that, almost a decade later, this small impish figure was to become as famous as any Hollywood star, his voice more familiar than the President’s, and his name, besides becoming a household word, was to be introduced as a new synonym into the English language.2 Charlie McCarthy was undoubtedly the most illustrious piece of wood ever to grace a ventriloquist’s knee. His creator, voice, and manipulator, Edgar John Bergen, was born in Chicago on February 16, 1903.

Bergen experimented with magic, mind reading, and ventriloquism from his early youth.

To a great extent, he was inspired by Hermann’s Wizard’s Annual, which provided a crash course in

Below: Edgar Bergen with the original Charlie McCarthy at age 16.

Below: The duo in ‘The Operation’ scena that they performed on the American Vaudeville circuit and in theaters throughout Europe.

the arts for 25 cents. In 1922, he purchased a stock ventriloquial figure from the firm of Charles & Theodore Mack in Chicago for $35. He then asked Mack to slightly alter the nose of the figure for a extra $5. Bergen named his new character Charlie Mack after the figure maker.

He later added the suffix to McCarthy.3 At autem faccae num faccatibus eligeni moditem.

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Above: Edgar Bergen in his early 20s, standing proudly beside a poster announcing his performance on the Chautauqua circuit.

Above Left: Edgar Bergen at the age of 18 with Charlie McCarthy.

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Facing: Jeff Dunham with Achmed the failed terrorist.

THE DYING ART

Up until the 1960s, ventriloquists were normally booked as ‘opening acts’ to support or open for a star performer.

This underlying position was dramatically changed with the emergence of the comedy club.1 The comedy club scene began in the 1960s with the Improv in New York and later the Comedy Store in L.A. Between the 1970s and 1980s, the popularity of the comedy club scene exploded and over 300 comedy clubs sprouted up across America. This phenomenon quickly spilt over into Europe and the rest of the world.

The format of the comedy club was simplicity—no curtains, no elaborate stage settings, no band, just a simple raised platform and a microphone usually against a wall backdrop. It was in this new arena that ventriloquism emerged from a support act status into the comedy stand-up genre.

Instead of the customarily 10-12 minute performance that was the norm for ‘opening acts’, the comedy club scene encouraged 30 or 40 minutes, or even hour-long performances This newly expanded period enabled many ventriloquists to explore their repertory of ‘bits’ and patter and even to sometimes indulge in dialogue

Below: Jeff Dunham at age 14

Tom Edwards advertisement in a theatrical newspaper proving that he owns the ‘nursing the baby’ routine.

Ronn Lucas with Buffalo Billy

In 1998, much to the lament of the ventriloquist community, ‘the queen of ventriloquism’, Shari Lewis, passed away shortly after she was diagnosed with uterine cancer at the age of 64.8 Omnis sit, conecti tenditiist, omniet liquam quaepre rferibus mos et hil iusapit lit ut labo. Cus, et ideroviderum vel maximus daerios doluptatiis volora corendis as dendi veles molorro occabor escitemperum nos este pelit excerum repudis etur? Qui blandit doluptae quo vendem sum earchic tatiandicate sum nullit qui dus aut odit hilique este ellatem re denestibus nosam voluptiore quia solo cus aut remquis sit, vellaut et esti optius ad qui doluptatur res molupta quatus duntias eicipsam que natia voluptur aruptaerit, tem inihicia cus, aliquae pudae. Obitasit vollabo. Nam, ut la non perum destem qui aut pa nistiam facearum re velescium, ut at.

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Above: America’s Got talent winners Paul Zerdin and Terry Fator.

Cecilia “Zillah” Ustav and her puppet monkey Totte. Zillah was the winner of the Sweden’s version of Got Talent, in 2007.

Below: The mask gimmic produced by Steve Axtell.