Tips and Techniques

October 2005

Manipulation: The Illusion Of Life

By Pete Michaels

Aside from lip control, manipulation is probably the most important aspect of Ventriloquism.

I can remember as a child, watching Jimmy Nelson, Paul Winchell and Edgar Bergen on TV and the thing that fascinated me more than their lip control was how they made the puppet come alive!

Bergen, for example, did not rely on the many controls that now seem standard on a vent figure. Charlie had a moving mouth. Period. (At least the Charlies we�re accustomed to seeing in most of Bergen �s films.)

And, Charlie also had a flat bottom neck. Not the �ball & socket� type we are used to. Yet, Bergen was able to manipulate Charlie with such grace and ease, that he seemed to take on a life of his own. Many a Hollywood star talked to Charlie as if he were real. This was due to Bergen �s attention to small, life-like movements coupled with his giving Charlie a believable character.

Look at Mortimer Snerd in the hands of Bergen . Slow, dimwitted yet loveable. Mortimer not only LOOKED stupid ( Bergen �s words, not mine) but ACTED and MOVED that way. This was done with very exaggerated slow movement and dialogue. Usually Mortimer would look far off into the distance when he spoke and listened. As if he were thinking about every word before he spoke it.

Then, there�s Danny O�Day. Fresh, brash. Always looking at Jimmy or Farfel before turning his head and going, �Sheesh!� Again, we can see the life-like movements that made Danny seem like a smart-aleck kid.

And Farfel; who would just sit there and cock his head to one side while cutting Danny to pieces. Not a great deal of manipulation here, BUT note how Jimmy moves Farfel�s head and mouth. He seems like a real dog. And if a real dog COULD turn his head and talk, that would be what he would surely look and sound like.  

Now, let�s look at Jerry Mahoney. Jerry had not only moving eyes, but winkers as well. Winchell was expert at manipulating Jerry with both slow and quick movements. One of my favorite Mahoney-isms is when Paul would have Jerry pull his head away and say, �Get outta here.�

Another one was when he�d have Jerry lean in, face-to-face and say. �Kiss me.� I stress� LOOK at the manipulation of the figure. These LITTLE movements add LIFE and CHARACTER to the puppet.

Also, try to get into the habit of having the puppet actually �look� at someone in the audience. Practice by conversing with someone, and when the person is speaking to the figure, have the figure �respond� both verbally AND physically.

When we talk to someone, we don�t just stare at them, we interact. Nod our heads in agreement or shake in disagreement. Do the same with the figure.

On the subject of winkers, it looks a little �robotic� to have the figure blink his eyes every few seconds like people do. (It spooks some audience members too.) Rather, have him blink or close his eyes for EFFECT. As in when Jerry Mahoney said, �Get outta here!� Using one winker to flirt with a girl in the audience is cute and is also something your figure may do, if that is in his character.

If your figure has all the �bells & whistles,� remember you DON �T have to use every single one of them to make him look alive. Chances are he�ll end up looking like a McElroy falling down a flight of steps!

Keep the movements simple and with purpose.

If you have an arm control rod or dowel installed, use it to mimic how someone would hold or move their arm and hand. Remember, less is more. Keep it subtle.

When manipulating the head, think of Charlie, Mortimer, Danny and Jerry. Each puppet had their own unique way of turning, tilting, and moving their head.

If you watch clips of Woody D. and Mr. Johnson, you will see two distinct styles of manipulation. Woody tends to be more energetic, as a kid WOULD be, and Jr. Johnson moves slower, as an old man would

One of the greatest figure manipulators was the late Johnny Main. He could make ANY figure come to life in his hands. If you looked closely, you would swear the figure was BREATHING!    I learned SO much from him about subtle movements. That is what I strive for when performing. Make the audience believe that the figure is REALLY talking, moving, thinking as a separate entity.

 How? Practice. There is no other way. Take the figure out and talk to people. Use a mirror or a video camera. Try to make people believe that the puppet is really doing all those things BY HIMSELF.

THAT is Manipulation! The Illusion Of Life!

August 2005

The Secret of Ventriloquism

by Jay Johnson

When I was growing up there was ad in the back of almost every comic book. It claimed I could �Learn the Secret of Ventriloquism� for twenty-five cents. Even as a kid I knew any secret that only cost a quarter couldn�t be that good. However, I invested two bits to find out.

What I eventually got in the mail was a swazzle (a flat reed-whistle that could be concealed in the mouth). The swazzle was great for making high-pitched bird noises, but alas, no �Secret of Ventriloquism.� I would have to find it myself. This began a career in search of that secret.

Explaining ventriloquism is surprisingly complicated. Does one talk about the history, the performance, the technique or the pure Zen of ventriloquism? You tell me...I find all aspects of ventriloquism equally compelling. But is there a secret? If so, what is the �secret of ventriloquism?�

Well, what is the secret of music? The secret to becoming proficient in any art form is the same -- practice. There is no way around the hours spent learning the craft of music. The same is true with ventriloquism. There is no way around the hours spent learning the craft of ventriloquism. So there it is. The secret of ventriloquism�PRACTICE. If you think there is a mantra or enchanted word that will make you a ventriloquist, you are in for a big disappointment.

A ventriloquial performance is the art of imitating life. The audience must feel they are watching two or more characters in conversation and not one person who has learned a trick voice. In this regard the art of ventriloquism is much like acting.

An actor must make a script come alive for an audience. It�s not easy to accomplish. It also requires study and Practice. Ventriloquism is even more nebulous and difficult because it is a singularly unique form of acting.

Consider two actors on stage. One speaks while the other listens to that dialogue, then they reverse the process and the speaker becomes the listener. It is the precise timing and interaction of this verbal ping-pong match that makes a great performance.

Unlike an actor who is sometimes just listening to another actor, the ventriloquist is speaking dialogue as one actor while at the same time listening to what is being said. Therefore, at the same moment a ventriloquist is speaking he might have to be �expressing� something entirely different.

Too many times a ventriloquist act fails because there is no interaction between the characters, that is, between the ventriloquist and puppet. The ventriloquist has a line, the puppet is lifeless, then the puppet has a line and the ventriloquist becomes lifeless. The audience reads the expressions of the puppet off the facial reactions of the ventriloquist. Even the best puppet has a limited range of expressions so the ventriloquist must use his unlimited human expressions to justify the puppet�s limited expressions.

I was once complimented after a show on the way one of my characters stuck his tongue out at me. I don�t have a puppet with that mechanical movement. What the person actually saw was my reaction to an expression they thought the puppet made. If manipulated correctly, the collective mind of the audience fills in missing expressions and remembers what it could not possibly have experienced.

In a short-lived television series called Broken Badges, I played the part of a policeman/ventriloquist. There was an emotional scene in a doctor�s office with my puppet character Officer Danny. It involved playing Danny as very angry and my character, Stanley , as very hurt. It was made more difficult because both Stanley and Danny also had dialogue with the doctor.

In the first few takes I couldn�t get it right. I was either playing both Danny and Stanley angry or both characters hurt. I just couldn�t seem to make the split between Danny and Stanley work.  To help me �get it,� the director, Kim Manners, called for an on-camera rehearsal. For one take he had the script supervisor read my part and I played only the part of Danny, in the next take she read Danny�s part and I played Stanley .

I suddenly got it.

I could feel how differently I reacted as Stanley when I wasn�t trying to also act as Danny. In the next take I was able to remember those completely different emotions and play them both at the same time.  

This is the challenge and the secret of ventriloquism. If you are asking an audience to believe that two characters are on stage at the same time, you better show them two distinct characters. Never lose your life or the life of your character, even a moment.

It�s not easy. If it were, would it be worth mastering? How do you do it? Practice. Video tape yourself doing a routine. Watch it back twice. One time never take your eyes off yourself. The next time through, never take your eyes off the puppet. Was there any moment when either character was not alive and expressing an emotion? Make whatever adjustments you have to make and record it again and again until you believe there are two people on screen, not one person at a time.  

A violinist practices his concerto until he hears not just sounds but something that transcends the notes on a page. He will practice and practice until it becomes more than horsehair scraped across metal strings, it becomes art.

An actor practices until he is no longer a person just repeating lines from a script. He becomes the very embodiment of the person in the drama.

A ventriloquist must practice until there is no longer just one person performing a trick voice, but two distinct characters on stage. That is when the craft of ventriloquism becomes the art of ventriloquism. That is the secret of ventriloquism.

You now owe me a quarter.

July 2005

Vent ConVENTion 101:
How To Have a GREAT Time at a Vent Haven ConVENTion

by Mark Wade

Going to a Vent Haven Ventriloquist ConVENTion can be a real happening, especially if you plan ahead and are ready to get the most out of the experience.  I know you will find it to be fun, enlightening, experimental, and rewarding all wrapped up into one package.  But to prevent "vent overload" or "burnout", I'd like to offer up some tips on how to have the time of your life and come away wanting more.

EXPECT GOOD THINGS TO HAPPEN

I know this sounds like I've been reading too many "self-help" books but it is true.  You get what you expect.  If you go with a good, positive outlook and are ready to learn, the Vent Haven ConVENTion will be like a big oyster for you.  All you have to do is pluck the pearls out and you walk away with a  lot of good things.  Vent Haven ConVENTions have more full time vents attending, teaching, and performing than anywhere on earth.  And the great thing about it...these pros are willing to help any and all that ask for help!  There is no "caste system", in fact, I've gone into restaurants many times at the Drawbridge and looked around and have seen pros, semi pros, amateurs, and even beginners sitting together over dinners discussing vent.  There are no cliques...there are no barriers, except what the would-be attendee imposes on him/herself.  Camaraderie is the key word at a Vent Haven ConVENTion!!

TOP NOTCH SHOWS, LECTURES, AND WORKSHOPS

The Vent Haven ConVENTion prides itself in hand selecting the VERY BEST that ventrilodom has to offer.  You'll experience a wide array of performing styles and performers.  Learn from all of them is my advice!!  You're never too young and never too old to pick up good ideas that you can use, so take advantage of the years of experience and knowledge that is under one roof, only once a year.  Don't copy these experts, but instead use their experience to spark your own creative vent juices.

Also be a good attendee and please don't tape record or use video cameras to tape a person's act of lecture.  And PLEASE turn off all cell phones...there's nothing worse than a phone ringing in the middle of a show or workshop!

BE COMFORTABLE

This seems like I shouldn't have to say anything about comfort but you are in northern Kentucky in the summer and it does get humid.  Wear comfortable clothes that lend themselves well to the weather.  When you are comfortable your mood is better, and a good mood causes you to be more receptive to whatever you are viewing. Comfort is a must at Vent Haven ConVENTions. We want you to learn and have fun in a comfortable way!

VISIT THE DEALERS AND MAKE A LIST

It is just like being in a candy store when you visit our two full dealer's rooms at the ConVENTon , you see and want everything!!. We have over 26 dealers that bring the latest and best in the way of ventriloquism books, DVD's, puppets, figures, tables, and anything else you can think of that can be used by a performing ventriloquist.  I would suggest making a pass or two through both rooms and make a list of things that you will be interested in.  But don't wait too long!!!   Many of the dealers sell out of popular items and this is a great opportunity for you to buy something and take it with you.  No where are there any more dealers than at a VHC !

Also don't be afraid to ask questions of the vendors and if you have an idea for a puppet, sketch it out and bring it with you.  There's nothing like one-on-one discussions with a figure maker/ puppet maker to make your ideas a reality.  Please take advantage of having some of the finest vent suppliers in one place.

LEARN ABOUT YOUR VENT HERITAGE

Another fun, yet informative thing is to visit the Vent Haven Museum on Saturday of ConVENTion.  You'll get a deeper appreciation of our art by seeing the pictures, playbills, photos, and over 500 vent puppets and figures that are on display.  Be sure to see Jacko, our monkey mascot in the W.S. Berger Building, plus several new special displays.  One temporary exhibit will only be open this year, so don't miss it!

As an added "extra" we have free shuttle bus service to and from the Museum on Saturday.  Get on board for fun and learning at the Vent Haven Museum .

BE YOURSELF

To enjoy the experience at the Vent Haven ConVENTion, just be yourself.  If you are a beginner...that's OK!  If you are a seasoned pro...that's OK too!  If you are interested in performing please sign up when you arrive for the General Open Mic and then consider doing either the appropriate Junior/Senior  Open Mic the following year.  ALL of us at the VHC are rooting for you to do your best!  This a totally safe environment to try new things with a new puppet, or to work out some fresh ideas with an established character. 

MAKE VENT FRIENDS

I can't emphasize enough the importance in making good vent friends.  Our ConVENTion lends itself well to this...and many of the friendships last a lifetime!  Often people talk about our ConVENTion as being more of a reunion, and they are absolutely right!  We are all part of the vent community and we want you to be a part of it too!

See you in Ft. Mitchell !!

June 2005

Mike and Sound System Technique

by Jeff Dunham    

Today's column is going to be on another practical aspect of vent. It applies not only to vent, but performing in general: Mike technique. 

After observing enough folks during open mike sessions at our conVENTions, you begin to realize that there are three basic types of "do-wrongers" when improperly using a mike on a stand. These are: 1) The "Mike swallowing performer"  2) "The afraid that the mike is going to bite  performer" and 3) The "I'll hide behind the mike so no one will see my lips move performer."

All three titles are fairly self-explanatory, but let�s learn from others' mistakes in detail�

First, the "Mike Swallower."  This is the guy who eventually causes the insides of the mike to rust. Even though the sound system is plenty "hot," he insists on being right on top of that mike, breathing right down its throat. This usually distorts the sound and blasts the audience, especially if the sound man (if there is one) is not compensating for what the performer is doing incorrectly. The last thing you need when trying to entertain an audience is for them to be uncomfortable and to have to strain when listening. When they are uncomfortable from bad sound, it's tough to get them to laugh at anything.

The second baddie is the "Afraid that the mike is going to bite performer."  He (or she) stands so far away from the mike so that the audience can hardly hear what is being said. If the sound guy tries to compensate, the all familiar feedback squeal is what the audience is treated to.

Also in this category is the performer who may stand the correct distance from the mike, but speaks with very little volume. In most situations in front of a live audience, no matter how good the sound system, you still can�t speak in a normal conversational voice.  We still need to project.  Not only does this help the sound system, but it aides in keeping your energy up and the audience awake.  Maybe.  Hopefully.  Whatever.

Finally there is the cheater third guy who puts the mike right up in front of his face so the audience can't see his lips.  The only time you should be hiding anything is if you�re doing magic. If you are a ventriloquist, the folks WANT to see your lips.

Sound Systems

When attending a live show, there is one basic way of determining if the sound system is doing its job, and if the performers are using their mikes correctly. See if you agree with me. Try to recall the last live show you went to. Maybe it was a play or a stand-up comedian.  Now think about what the sound was like. If you can't remember what the sound system sounded like, then it was perfect.  When you are listening to a vocal performer, if you never have to think about the sound, then the performer and system are working together just right.

Here�s a fairly obvious tip: Always do a sound check before the audience arrives. First, check what type of mike you will be using. If it�s a lavalier or body mike type, see how the clip works and where you are going to attach it on your clothing. If it is a mike on a stand, check to make sure you can easily adjust the height so you won't have to delay during your act. You must also check your sound level to make sure you are loud enough but not painfully so. Check the �E.Q.�, which means �Equalization�.  More simply put, it�s the amount of bass and midrange and treble that the sound system has been adjusted with.  If you have no idea what it�s supposed to sound like, hopefully a good sound guy will adjust it for your particular voice.  As you get more experience on stage, you�ll begin to recognize a good sound system from a bad, and how a system should be adjusted to make you sound your best.  Also, keep in mind that the volume on the sound system will have to be increased when the room fills with people because bodies absorb sound and thus decrease room reverberation and volume.

The type of act you have usually determines what type of mike you use.  Most stage veterans prefer handheld mikes simply because they are far superior in sound quality to lavs.  Handhelds give you a greater range of sound, are more efficient, and far less susceptible to feedback.

On the other hand, if in your act your do a great deal of moving around with your hands full, a lavilier might be your only choice.  You can also opt for the head-boom type set up, but I don�t find any appeal in looking like Madonna or an air traffic controller when doing comedy.

Finally, let's talk about using one stand mike versus using two. If you have the "typical" kind of vent act which incorporates a knee figure, then you can consider using two mikes.  When the figure has a mike on a stand in front of him, the ventriloquial illusion is greatly enhanced. Willie Tyler has done this for years and it�s greatly effective.  This can be just one more aspect of your act that "convinces" people that the figure is really alive.  A couple of disadvantages would be limitation of figure manipulation since the mike might get in the way, and then there�s setup� Two mikes are twice the trouble of one.  Timing is everything in comedy, and more than a few seconds of mike and stage setup can bring show momentum to a grinding halt.  Just as a note: when you or a new figure is introduced and brought out, I think no more than five seconds should pass before the act is up and running again.  Five seconds is about how long an audience will politely applaud when something new is introduced that they know nothing about�Or that they don�t care about yet.  Silence during setup is a big comedy killer.  Watch a good standup comedian after he�s introduced� He�ll start talking as the applause are still going.

Thanks for reading.
jd

This article was edited from its original version which appeared in The New Oracle, Jul-Aug 1982, pg 4-5.

May 2005

Ballyhoo

by Conrad Hartz

JACK OF ALL VAUDEVILLE ACTS - Watch it. I recommend that you don't advertise that you do vent, balloon sculpture, magic, sword swallowing, puppets and clowning all in ONE brochure. You confuse the buyers. If you have to do a variety of things in your act, then do them and don't tell the world that you can do everything on earth before hand. You're making the buyer think he or she can get a whole Las Vegas variety show in one person. Jack of all trades, master of none. Surprise your vent audience with a little magic or juggling or surprise your magic audience with a little vent. Sell one skill to one group. One brochure for one skill will make Jack's show more memorable. If you still don't get the point, then go on stage, set yourself on fire, juggle eight balls while standing on the edge of a sword and do dramatic readings and see if you get a booking next year.

TRY THIS - The falsetto voice the Hartz way. Most falsetto voices sound as if you are choking a dwarf to death. I use one with my figure Spankee Doodle but with a difference: it is a low falsetto versus a normal high one. Do a high one and then lower it about five notes. I think it'll sound much more like a young person than your grandmother yelling goodbye.

HARTZ ON BERGEN - If you have taken the manipulation techniques of arms and legs and put these into practice only to find that you are now wrestling with the figure and not actually putting on a good act - then stop! Relax. Edgar Bergen used undermanipulation! Charlie and Mortimer were operated slowly and therefore realistically. Think about it. He used a slow rhythmic head and mouth movement combined. This combined with great faces and line delivery was pure poetry. You have a choice. Do what you do best.  

*Excerpts reprinted from The New Oracle, 1976-1986.

April 2005

Dealing with the Media: Radio

by Gary Owen

Why should I consider RADIO for publicity? . . . the listeners can�t see my dummy?   Yes, but you are an excellent target for human interest stories and interviews.  Instead of  watching you, the audience has to use their imagination.  In radio it�s labeled "Theatre of  the Mind."  

I�m sure there are times when you wonder what your favorite DJ or talk show host looks like because of the tone of his or her voice. If it�s a guy and his voice is low and resonant, your mind may picture him to be a handsome hunk about 6�5� and weighing about 280 lbs.  In reality he is probably short, fat and slightly bald! A great face for radio!

Today the medium of radio is very competitive and offers everything from Rap to Rock�News talk to pop. It is a superior medium for marketing, advertising, and getting free exposure.   To get the attention of ANY radio station, you must have an angle or story worthy of airing.  Morning shows love guests that are amusing and entertaining. As a ventriloquist�you offer the PERFECT vehicle for morning comedy!  

Warning: Most morning show teams and hosts are sharp, witty, and fast with comebacks. Being a guest on these shows can be challenging, yet a lot of fun.  Interviews are usually no more than five to seven minutes. And don�t let their egos intimidate you.  If you�re prepared and let your character be the star you�ll be a hit and welcomed back in the future!

A word about �talk� formats. Today�s talk stations usually prefer controversial topics. However, if a local talk show is willing to interview you, be prepared for a rather lengthy chat. Fifteen minutes can seem like an eternity on talk radio if you�re not prepared to be funny and interesting.

Caution: Talk show hosts may open the phone lines to the listeners who will ask you questions or make comments about ventriloquism. Read up on your vent history; know all  the details about the subject matter that you are promoting or being interviewed about.  Your confidence and knowledge will make you sound like a pro!

Most all radio stations do "Public Affairs" shows. Most are pre-taped for delayed broadcast at a later time. Usually weekends to fill required public service time! You will probably be asked to provide, in advance,  P.R. material for reference and credibility.  I recommend providing questions you want to be asked.  This helps both you and the interviewer. The questions should relate to your story as well as promoting the art  of ventriloquism in general.

To get an interview on a radio station in large or medium size markets, you will need to contact the �Show Producer.� In smaller markets contact the DJ or show host directly. Be sure and provide your daytime phone number, e-mail address and best time of day you can be reached. If you have a website, provide the link.

Remember, the only way broadcasters know you exist is by contacting them.  But be patient on their response. These are busy people with a lot on their microphones! It may take a day or two for them to get back with you.  Don�t be surprised if some stations are hesitant about putting a ventriloquist on the air.  Remind them it took Edgar Bergen almost a year to convince producers ventriloquism would be entertaining on radio. And for Edgar and Charlie it was . . . for twenty years.

       *Edited and reprinted from the New Oracle Sept-Oct 1984, page 11.  

March 2005

The Dummy Sings! Using Music In Your Act

By Pete Michaels

I have been a singer since I was in kindergarten. Musical plays, bands, clubs. You name it, I�ve sung it. Everything from Rock to Opera. When I attended my first Vent Haven Convention back in 1980, I saw many people using music in their act. Some to their advantage, some not.

The first thing you must establish if you plan to sing in your act is, obviously, CAN you sing? I don�t mean can you just carry a tune. Have you ever sung in public before?  Not just in the shower or the car.  Singing in public is more challenging on the nerves than speaking in public.  Remember, you are a PERFORMER and the people you perform for will lose interest in your show in a New York minute if you sound like an American Idol reject.

Also, can you sing with little or no lip movement AND be understood? I�ve watched many vents have their dummy/figure/puppet, whatever, sing and not understand a word they sang.  This is where your labials are EXTREMELY important. If your b�s sound like d�s and your p�s sound like t�s and you�re singing a song that your audience is familiar with, you�re going to look and sound foolish.  Practice those labials over and over so you have them down pat before you sing in public.  What muddies the sound and can make those tough letters unintelligible is incorrectly enunciating in the back of the throat and through the nose, rather than through the teeth.  

One thing I�ve noticed is this propensity for some vents to be VERY nasal with the figure�s voice. This is only magnified when you sing that way. It sounds like you�re singing through your nose, and it is very hard to understand. Your partner�s singing voice should sound natural and should be able to be both heard and understood.

Tape yourself singing and listen to it objectively. Listen with a small group of people or private audience to help gauge their reactions as well.  Are you happy with the tone of the voice? If not, chances are your audience won�t be either. And they are the people who count.

Choosing music can be a challenge. Pick something that you CAN sing. I sing opera arias with a Pavarotti puppet. Why? Because I can. If I couldn�t, I never would have had the puppet made. A lot of thought and planning went into that bit. Pavarotti took me one year to perfect.  Six months of vocal training, singing it with my lips moving, and six months of singing it with the still lip.  The first thing I did was to make sure I could sing opera without lip movement, with clear enunciation, in the proper tenor register, and hit the required notes.  The dividends paid off, however, when a reviewer in Atlantic City swore I was lip-synching.

Now, whether I�m singing opera with Pavarotti or Hip Hop with Woody D., the same rules apply. Choose music that is ENTERTAINING and that fits your demographic. The �Auctioneer�s Song� may get loud �Yee-Haw�s� in Georgia , but people in Boston will probably not be so enthusiastic. Especially if your labials are weak and you sing through your nose.

I don�t sing in my act JUST to sing. But it helps show versatility. Use that to your advantage. If you choose the right song(s) and present them properly, you�ll WOW your audiences. Pick something in your register. If the song is too high or too low, and you find yourself straining to reach notes at either end, pick something else. You can find your range either on a piano or a pitch pipe.  There are, however, some computer programs that will allow you to change the key of a song to one that you are comfortable with so that you can hit all the notes equally well.

Choose a song that sounds like something your figure would and could sing. A young boy figure would not sing a song about being in a nursing home, etc. Once you�ve found the song, REHEARSE IT! Many times! Get some voice lessons as your rehearse, if you can.  A couple of sessions with a trained music professional could make all the difference in whether you nail the bit or not.  That expert in music could also help with song choice, if what you've selected is not working.  Then, REHEARSE IT SOME MORE!  Make sure you know all the words and changes BEFORE you go out in front of an audience. Remember American Idol?

And further, you DON �T have to open and close the mouth for each syllable when the figure sings. Make it look more natural by mimicking real mouth movement. Remember manipulation?

Also, don�t forget about BREATH CONTROL. Breathe from the diaphragm. This is important ESPECIALLY if both you and the figure are singing the song together.  Practice this breathing exercise by breathing in through the nose and out of your mouth.  Tighten your diaphragm and exhale slowly.  If you run out of air in the middle of a phrase and have to inhale again to finish, you'll throw the timing of the song off, and you'll look silly as well. 

Once you are confident that everything looks and sounds like your figure is really singing, you are ready to add another dimension to your act that will make it a pleasure not only to perform, but for your audience to watch.

See you in July!

February 2005

The Art of Ad-libbing 

by Jeff Dunham

One of the most important abilities that should be learned and honed by any public speaker or stage performer is the ability to ad-lib.  I wrote the first version of this article for Mark Wade�s New Oracle more than 20 years ago� I believed it then, and I believe it now:  You�re a far better and more well rounded comedian if you can get off the rehearsed stuff and be brilliant with well-timed wit, reacting to the moment.  Depending how funny your ad-libs are, the audience will laugh harder and appreciate you and the show more when they know you�re thinking on your feet and they�re hearing something funny for the first time.

Football can be a good analogy when arguing for a good ad-libbing ability:  Who�s the best quarterback?  The rookie who stays with the called play every down?  Or is it the veteran who comes to the line, reads the defense and in those split seconds realizes he needs to change things up to get further down the field?  Of course he�s practiced the plays in the playbook over and over and can do them in his sleep...  As performers we should be the same:  We know our routines from having done them hopefully hundreds of times, so we know where pauses go and how to hit the punch lines with the best of timing.  But to be the best and most brilliant of comics, you need to know your game well enough to recognize when it�s time to �call an audible� and get OFF the script.

�Ad-lib� means "to deliver spontaneously... to improvise lines of speech."   It�s something that hasn�t been planned; It�s unexpected by all. The simplest example is one that Jimmy Nelson uses on one of his albums: A person in the audience sneezes and everyone hears it. A simple "Gezundheit!" from the dummy is sure to get a nice little laugh. An ad-lib can be that simple, yet get bigger laughs than anything in your script.  Why?  Because the audience sees you deviating from the planned.  With their laughter, they are applauding your quick wit.  Also, when an ad-lib comes from a dummy, for some reason it�s even funnier than when a human does it.

Next, an ad-lib shows to the audience that the performer is truly versatile and comfortable. The reason I put those two aspects together is because they go hand in hand. I believe that the only time a performer can be genuinely versatile and able to change his routine to fit the audience or to throw in a good ad-lib is when he or she is relaxed.  And visa versa, one of the few ways that a performer can be comfortable is when he has the ability to change and adapt to his audience and situation.

Also, as any experienced comedian can tell you, a good amount of the time ad-libs are not purely ad-libs.  What looks and sounds like an honest to goodness ad-lib is actually a spontaneous, but well placed, much thought out, much used before, sure fire, LAUGH LINE. If a guy is on stage doing comedy enough times, he�ll eventually spit out an ad-lib line that he had never thought of before� But most veterans of comedy also have a whole string of "ad-lib" lines ready for any unusual situation or incident.  The genius is in knowing when to put what where.

What�s great about �fake ad-libs" is that the audience never knows the difference. They wonder, "Did he really think that fast or was it planned?" As goes the rule, the audience should always feel that you are saying ALL your lines for the very first time� And a few well-placed ad-libs helps that illusion immensely.

Another aspect about ad-libs is that they can make your show a lot more personal. You should have a word-for-word act that needs no additions to get good laughs� This is especially important when you are performing on television or at an audition of some type where perfect timing is of the essence. But at the same time, STAY LOOSE AND READY.  What if you�re doing a live TV show and you�re in the middle of your script and someone screams or a baby cries?  It will take the focus off you and kill any timing of whatever bit or joke it is that you�re in the middle of� Now what?  Can you think fast enough to get a laugh from the opportunity and move on with your routine, or will you stand there dumbfounded and embarrassed because you�ve been interrupted?

In conclusion, it should be noted that despite the fact that you should be able to ad-lib, don't rely on that part of your talent too much� It�s a skill that is developed over time with experience, but it should be the extra gravy in your act.  Have a good and well-rehearsed routine that works from start to finish, because any number of   things could cause you to become nervous, unsure, or unable to read the audience. And when one or a combination of these things happen, there's nothing more difficult than to try and ad-lib successfully.

As a side note, I want to take this opportunity to thank EVERYONE who voted for me in the latest Comedy Central Comic Showdown.  Special thanks to my friends Lee Cornell, Bob Ladd, and Keith Singleton who kept reminding everyone on the vent list to vote and vote!  And also, thanks to everyone who voted over and over and over!  As I type right now, I have no idea what place I ended up in, but that�s not what I think about most:  More importantly I appreciate everyone�s support and good wishes and friendship.  Hope to see you in person soon!

Thanks for reading!
Jeff Dunham

*This article was revised from the original New Oracle column published Mar-Apr 1983, p. 4-5.

January 2005

Ballyhoo by Conrad Hartz

DO-RE-MI: Try this for an experiment. Find a piano. Speak a word in your normal voice and then turn that word into a hum. Now find that humming note on the piano. This is your voice. Count upward on the white keys (including your normal voice key) until you get to the fifth key. This key should be a good range key for your figure's voice. Five notes is a good contrast range between you and the figure. Don't do a full octave of eight note difference. This is too much contrast. Now this experiment pertains only to the pinched voice. Falsetto and very low voices are completely different. This experiment may get your vent voice more in line. Some folks blow my ears off at the convention by screaming the figure's voice out too high.

SUITCASE: If you do a good distant voice, fine. If your distant voice stinks like mine does, then do the suitcase voice and let it go at that. Just clinch your teeth and do your figure's voice and it will sound muffled for the effect. My distant voice sounds like a dying elephant. Awful. 

VOICES: Try using some of the famous known voices with your figure if you are not satisfied with the present one: Jimmy Durante, Howard Cosell, Foghorn Leghorn, etc. You may find a more appropriate one than you have now.

HUSH: When doing close-up vent, for goodness sake speak softly. Again at the convention you could give someone brain damage by doing your stage voice at a close range.

Reprinted from the New Oracle Nov-Dec 1982, p. 12.

December 2004

VENT BASICS   by Jeff Dunham

When a person is first learning to perform ventriloquism, mastering the basic technique is obviously of the utmost importance. A few minutes spent every day in front of the mirror or video camera is a must.   But in my opinion, that's less than half the battle...

What is just about THE saddest thing to see on stage?  I'd say a ventriloquist with bad technique.  BUT... What's even MORE sad than that?  How about this: A bad, UNFUNNY ventriloquist. 

Bad vent technique and the inability to be funny are the two stumbling blocks that have given ventriloquism a bad name in the past few decades. Back in the 50's and 60's, aspiring vents saw Bergen moving his lips, and I think they then figured if the greatest vent of all time moved his lips, what's the big deal? Just get a dummy, put him on your knee and tell jokes from joke books.  Now you're in show business!

I guess it's understandable why one could come to that conclusion.  But to me that's a bit like buying a bunch of oil paints and some brushes, then declaring that you're an artist.   I think the point most people miss about Bergen is that he achieved and maintained his reputation not from his technique, but from the characters he created and the material he used with them.

Edgar Bergen was a comedy writer and a master of performance timing.  The technique of ventriloquism came second in his act. The believability of Charlie and Mortimer and the dialogue they spoke were what made Bergen virtually untouchable as a performer. So here's my point for this article:  Until a vent learns to be funny with a good, believable character,  good technique is the only thing some vents have left going for them.  If you have bad material, then move your lips and don't manipulate, you're helping forward the notion that ALL vents are horrible.

For the performing vents and beginning vents alike, let's go through the very basics of developing and maintaining good ventriloquial technique.

Not long ago I was reminiscing and listening to Jimmy Nelson's first album, Instant Ventriloquism.  This is where I learned vent, back when I was in the third grade.  It reminded me of just how easy it is to learn basic close-up ventriloquism.  Jimmy did a superb job of breaking down what is seemingly a very difficult skill into something that is easy for anyone to learn in a relatively short time.  The big secret?... Be patient and learn each little step one at a time. 

First, learn and practice the 'easy alphabet'. Keep your teeth lightly together with your lips slightly apart.  Then say,  A-C-D-E-G-H-I-J-K-L-N-O-Q-R-S-T-U-X and Z. Anybody can say those letters without moving their lips!  PRACTICE.

The next steps? Spend about twenty minutes with each 'difficult' letter. Make up a sentence that has a billion b's in it. Substitute the d for the b and keep thinking b when you say d. This is the 'secret' to talking without moving your lips: SUBSTITUTION.  Eventually, you'll find a happy medium of saying d and rolling your tongue to pronounce b.

Here are the other substitutions: For F, substitute th. For M, use N.  P becomes V.  W is now duddle-oo.  Finally, the Y sound is said with a quick, smushed together, O-eye.

Take each letter one at a time, spend a good amount of time with each, and you'll be amazed with the results. B-F-M-P-V-W and Y. Each one is important, so just TAKE YOUR TIME. Again, the basics can never be left alone. I  think any good musician or athlete will tell you the same.

I also believe that in vent simplicity is the key. The first book I had on ventriloquism was  Fun with Ventriloquism by Alexander Van Rensselaer. That book is the epitome of simplicity. It was written for the aspiring kid ventriloquist and it's great.  So my point to all this is when you start to feel sloppy, revert to the olden days. Your audience will thank you for it.

One final point, some vents feel that when writing your act, you should avoid words that are difficult to pronounce. In other words, if you have a sentence like, "Mary and Beth ate a pizza," change it to, "Jane and Hilda ate steak." What do you think? I say "poo poo". (Okay, "too too.")  If you do that, what happens when you have to ad-lib? Can you really easily think of a quick funny sentence that doesn't have a B, F, M, P, V, W or Y? That's too much of a hindrance.  You should be able to speak in your vent voice and say things in your vent voice just as if you were speaking and pronouncing in your own. That's the only sure-fire way of helping you be comfortable with pronunciation.  Good luck, keep practicing, and oh yeah: Don't forget to BE FUNNY.

*Article edited and reprinted from the New Oracle, Mar-Apr 1984, p. 13-14.

November 2004

DO YOU HAVE A "GAME PLAN?" 

by Mark Wade                       

Any endeavor worth doing is worth doing well. . . and that is especially true when it comes to performing before the general public. But many times we ventriloquists (or magicians, clowns, etc.) fail to put together our master "game plan", the outline of what we are trying to accomplish.

To try and perform without knowing what direction to take is like trying to steer a ship without a rudder. . . the whole thing wanders aimlessly. Therefore you owe it to yourself to take some time and figure out just exactly what you are trying to accomplish with your ventriloquism.

A brainstorming session with yourself and a piece of paper and a pencil or pen will do the trick. Sit down in a quiet place and do some soul searching. On that piece of paper you might want to put some subheadings such as:

1. What kind of audiences will I be playing for primarily?

2. What kind of characters (wood, fiberglass, soft-sculpture, etc.) will put the act across?

3. How much time do I need to do (length of act)?

4. Do I want to do this for a living? Do I only want to do vent part-time?

5. What is my ultimate goal with ventriloquism or my act?

By putting forth a little effort you can clearly define what you want to do with vent and/or your act and then have some purpose. By using this method you can avoid unnecessary side-trips into areas that you might not feel comfortable (for  instance. . . you might not like to do programs in nightclubs or lounges) or spend money on characters that you thought would be "really neat" but find out later that it doesn't fit in with your act or what you are trying to do. I would certainly hate to see the closets of some performers. . . they're probably jammed with puppets, magic, and props that looked good at the time but really didn't fit into the overall game plan.  

Remember. . . the "game plan" is like a road map. It can keep you on course and get you to your destination without detours. After all, life is too short to waste it on incidentals.

Copyright 2005 Vent Haven ConVENTion, Inc.