Ventriloquism or ventriloquy is an act of stagecraft in which a person (a ventriloquist) speaks in such a way that it seems like their voice is coming from a different location, usually through a puppet known as a "dummy". The act of ventriloquism is ventriloquizing, and in English it is commonly called the ability to "throw" one's voice.

Originally, ventriloquism was a religious practice. The name comes from the Latin for 'to speak from the belly': Venter (belly) and loqui (speak). The ancient Greeks called engastrimythos (Ancient Greek: ἐγγαστρίμυθος) or engastrimantis (Ancient Greek: ἐγγαστρίμαντις) a person (mostly women) who delivered oracles by this means. The noises produced by the stomach were thought to be the voices of the unliving, who took up residence in the stomach of the ventriloquist. The ventriloquist would then interpret the sounds, as they were thought to be able to speak to the dead, as well as foretell the future. One of the earliest recorded group of prophets to use this technique was the Pythia, the priestess at the temple of Apollo in Delphi, who acted as the conduit for the Delphic Oracle.^{[citation needed]}

One of the most successful early gastromancers was Eurykles, a prophet at Athens; gastromancers came to be referred to as Euryklides in his honour. Other parts of the world also have a tradition of ventriloquism for ritual or religious purposes; historically there have been adepts of this practice among the Zulu, Inuit, and Māori peoples.

The shift from ventriloquism as manifestation of spiritual forces toward ventriloquism as entertainment happened in the eighteenth century at travelling funfairs and market towns. An early depiction of a ventriloquist dates to 1754 in England, where Sir John Parnell is depicted in the painting An Election Entertainment by William Hogarth as speaking via his hand. In 1757, the Austrian Baron de Mengen performed with a small doll.

By the late 18th century, ventriloquist performances were an established form of entertainment in England, although most performers "threw their voice" to make it appear that it emanated from far away (known as distant ventriloquism), rather than the modern method of using a puppet (near ventriloquism). A well-known ventriloquist of the period, Joseph Askins, who performed at the Sadler's Wells Theatre in London in the 1790s advertised his act as "curious ad libitum Dialogues between himself and his invisible familiar, Little Tommy". However, other performers were beginning to incorporate dolls or puppets into their performance, notably the Irishman James Burne who "carries in his pocket, an ill-shaped doll, with a broad face, which he exhibits ... as giving utterance to his own childish jargon," and Thomas Garbutt.^{[citation needed]}

The entertainment came of age during the era of the music hall in the United Kingdom and vaudeville in the United States. George Sutton began to incorporate a puppet act into his routine at Nottingham in the 1830s, followed by Fred Neiman later in the century, but it is Fred Russell who is regarded as the father of modern ventriloquism. In 1886, he was offered a professional engagement at the Palace Theatre in London and took up his stage career permanently. His act, based on the cheeky-boy dummy "Coster Joe" that would sit in his lap and 'engage in a dialogue' with him was highly influential for the entertainment format and was adopted by the next generation of performers. A blue plaque has been embedded in a former residence of Russell by the British Heritage Society which reads 'Fred Russell the father of ventriloquism lived here'.

Fred Russell's successful comedy team format was applied by the next generation of ventriloquists. It was taken forward by the British Arthur Prince with his dummy Sailor Jim, who became one of the highest paid entertainers on the music hall circuit, and by the Americans The Great Lester and Edgar Bergen. Bergen, together with his favorite figure Charlie McCarthy, hosted a radio program that was broadcast from 1937 to 1956 and which was #1 on the nights it aired, popularizing the idea of the comedic ventriloquist. Bergen continued performing until his death in 1978, and his popularity inspired many other famous ventriloquists who followed him, including Paul Winchell, Jimmy Nelson, David Strassman, Jeff Dunham, Terry Fator, Ronn Lucas, Wayland Flowers, Shari Lewis, Willie Tyler, Jay Johnson, Nina Conti, Paul Zerdin, and Darci Lynne. Another ventriloquist act popular in the United States in the 1950s and 1960s was Señor Wences.^{[citation needed]}

In south India, the art of ventriloquism was popularized by Y. K. Padhye and M. M. Roy, who are believed to be the pioneers of this field in India. Y. K. Padhye's son Ramdas Padhye borrowed from him and made the art popular amongst the masses through his performance on television. Ramdas Padhye's name is synonymous with puppet characters like Ardhavatrao (also known as Mr. Crazy), Tatya Vinchu and Bunny the Funny which features in a television advertisement for Lijjat Papad, an Indian snack. Ramdas Padhye's son Satyajit Padhye is also a ventriloquist.^{[citation needed]}