This antiquarian book contains a detailed and novice-friendly guide to ventriloquism, with information on voice exercises, selecting dummies, common techniques and tricks, performing, sketches, and much more. Written in clear, plain language and full of helpful diagrams, this volume is perfect for anyone looking for an introduction to ventriloquism. The chapters of this volume include: “How do you Do It?”, “Mouth and Teeth”, “As Regards to Teeth”, “Jaw Exercises”, “Throat and Neck Exercises”, “Tongue Exercises”, “Rubbing”, “Head and Voice Exercises”, “Chest Voice”, “Head to Chest Voice Exercises”, “Humming and the Female Voice”, “Grunting and the Male Voice”, etcetera. Many vintage books such as this are increasingly scarce and expensive, and it is with this in mind that we are republishing this text now in an affordable, modern, high quality edition. It comes complete with a specially commissioned new introduction on ventriloquism.

This fascinating book offers an in-depth guide to the art of ventriloquism, and will prove to be an invaluable addition to the bookshelf of anyone with a desire to learn this entertaining skill. The content is split into three manageable parts, to move on to as you improve, and each is split into many more comprehensive chapters. Contents include: How to Become a Ventriloquist; Voice Throwing 'Above to Level'; Near Ventriloquism; Ventriloquial Vocabulary; Vocal Mimicry; Bluebottle; Musical Instruments. Please be aware that this is a classic book, and contains some old-fashioned language that some readers may find offensive.

James Fenimore Cooper's popular historical romances of frontier and Indian life created a unique form of American literature , spellbinding readers across both sides of the Atlantic. For the first time in publishing history, Delphi Classics presents Cooper's complete FICTIONAL works, with numerous illustrations, informative introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Cooper's life and works * Concise introductions to the novels and other texts * ALL 32 novels, with individual contents tables * Images of how the books were first printed, giving your eReader a taste of the original texts * Excellent formatting of the texts * Famous works such as THE LAST OF THE MOHICANS are illustrated with their original artwork * Special contents table for THE LEATHERSTOCKING TALES series of novels * Includes Cooper's last novel THE WAYS OF THE HOUR, first time in digital print * The complete short stories, with rare tales appearing for the first time * Includes Cooper's play and a generous selection of non-fiction * Special criticism section, with essays evaluating Cooper's contribution to literature * Features two biographies - discover Cooper's literary life * Scholarly ordering of texts into chronological order and literary genres Please visit www.delphiclassics.com to browse through our range of exciting titles CONTENTS: The Novels Precaution The Spy The Pioneers The Pilot Lionel Lincoln The Last Of The Mohicans The Prairie The Red Rover The Wept Of Wish-ton-wish The Water-witch The Bravo The Heidenmauer The Headsman: The Abbaye Des Vignerons The Monikins Homeward Bound Home As Found The Pathfinder Mercedes Of Castile The Deerslayer The Two Admirals The Wing-and-wing Wyandotté Afloat And Ashore Miles Wallingford Satanstoe The Chainbearer The Redskins The Crater Jack Tier The Oak Openings The Sea Lions The Ways Of The Hour The Shorter Fiction Tales For Fifteen: Or Imagination And Heart No Steamboats An Execution At Sea Autobiography Of A Pocket-handkerchief The Lake Gun The Play Upside Down: Or Philosophy In Petticoats Selected Non-fiction A Residence In France Recollections Of Europe The Chronicles Of Cooperstown Ned Myers New York The Criticism Discourse On The Life, Genius, And Writings Of James Fenimore Cooper By W. C. Bryant Fenimore Cooper’s Literary Offences By Mark Twain Books Necessary For A Liberal Education By Wilkie Collins Tales Of The Sea, 1898 By Joseph Conrad Various Reviews By Carl Van Doren The Biographies James Fenimore Cooper By Thomas R. Lounsbury James Fenimore Cooper By Mary E. Phillips Please visit www.delphiclassics.com to browse through our range of exciting titles

France (1837) was the third volume published in Cooper's Gleanings in Europe series, but first in the chronology of his European experience. Less sequential than his other travel narratives, France distills his impressions of French and European culture during his first two years abroad. Exhibiting many qualities of the familiar essay, it considers a wide range of topics of interest to Cooper, his friends, and potential readers in the United States. As a celebrity thoroughly at home in the brilliant society of Bourbon Paris, Cooper was able to provide fascinating glimpses of personalities, spectacles, institutions, and manners--from his distinctly American perspective. Indeed, as Professor Philbrick remarks, "No other of Cooper's works, perhaps, brings us closer to his speaking voice or puts us more directly in contact with the man himself, with all his idiosyncratic preoccupations, his quick resentments, his restless curiosity, his surprising humor, and his nobility of principle." The reader of this edition is brought even closer to Cooper in the draft of a hitherto unpublished letter, probably intended for this book, which illustrates Cooper's grasp of the still finer points of French customs and attitudes.

This exciting collection of David Goldblatt's essays, available for the first time in one volume, uses the metaphor of ventriloquism to help understand a variety of art world phenomena. It examines how the vocal vacillation between ventriloquist and dummy works within the roles of artist, artwork and audience as a conveyance to the audience of the performer's intentions, emotions and beliefs through a created performative persona. Considering key works, including those of Nietzsche, Foucault, Socrates, Derrida, Cavell and Wittgenstein, Goldblatt examines how the authors use the framework of ventriloquism to construct and negate issues in art and architecture. He ponders 'self-plagiarism'; why the classic philosopher cannot speak for himself, but must voice his thoughts through fictional characters or inanimate objects and works. With a close analysis of two ventriloquist paintings by Jasper Johns and Paul Klee, a critical commentary by Garry L. Hagberg, and preface by series editor Saul Ostrow, Goldblatt's thoroughly fascinating book will be an invaluable asset to students of cultural studies, art, and philosophy.

The art of "bellyspeaking" isn't for dummies The Complete Idiot's Guide® to Ventriloquism teaches everyone to speak from their bellies, create and substitute sounds, use all the registers of their voice, and create diversions to attract the listener's ear—whether they invest in a fancy puppet or create their own figure out of a sweat sock. • Includes tips for making, manipulating, and talking with their dummy and for it—both at the same time • Advice for getting an act together and taking it on the road-getting gigs, getting paid, and how to improve performances • How to write dialogue and jokes and rehearsal techniques

Ventriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate seamlessly between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.

This volume brings together important records of medieval theatre practice between 1400 and 1580. The records are drawn from a wide range of spheres including civic, ecclesiastical, trade and guild records and consist of payments for materials, techniques and services; also included are some eye witness accounts. Alongside these records is a selection of the best contemporary research conducted into medieval performance practice, which features ground-breaking analysis and challenges current understanding, knowledge and authority in this field. These contributions of rigorous scholarship complement and support the work of the well-known Records of Early English Drama project and help to further illuminate contemporary fifteenth and early sixteenth-century theatre performance practice.

How do objects 'speak' to us? What happens to authorship when voice is projected into inanimate objects? How can one articulate an object into speech? Is the inarticulate body necessarily silent? These are just some of the questions brought up by this unique and unusual collection of essays, which presents subjects and categories often overlooked by the disciplines of art history, visual culture, theatre history and comparative literature. Drawing from and expanding upon the 'Performing Objects, Animating Images' academic session run by the Henry Moore Institute at the Association of Art Historians conference, held in London in 2003, this book presents thirteen essays that bring together a multidisciplinary approach to the animated object. Contributions range from literal accounts of magic lanterns, tableaux vivants, puppets and ventriloquist dummies, to the more abstract notions of voice displacement in audio art and authorship projection in writing machines. The contributors come from diverse backgrounds in art history, cultural history, comparative literature, and artistic, theatrical and curatorial practice, and all tackle the issue of 'articulate objects' from a range of lively and unexpected perspectives.

Reprint of the original, first published in 1836.