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.

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.

One of the world's most famous magicomedians and ventriloquists discusses every aspect of his art, revealing a wealth of insider's tricks. Schindler shows how to cultivate a variety of voices and offers helpful suggestions for putting an act together, developing comedy material and scripts, and handling bookings and publicity. 38 figures and photos.

How to talk to your hand without looking stupid.

Easy-to-follow guide offers expert advice from an internationally renowned performer. Helpful tips on "near" ventriloquism, the doll dummy, hand puppets, shadowgraphs and cardboard dummies, staging and entertainment, "distant" ventriloquism, more. 48 illustrations.

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

History of ventriloquism from ancient sages to modern stages. Three thousand years of vocal conjuration.

Examines the best of the Golden Age of ventriloquism, by profiling five performers who turned a vaudevillian gimmick into an American art form, including Edgar Bergen, Paul Winchell, Jimmy Nelson and Shari Lewis.