The word “ventriloquist” in literature has been employed in a variety of intriguing ways. In L. Frank Baum’s work, for instance, a ventriloquist is portrayed as both an identity and an accomplished skill, with characters proudly announcing their mastery and training in the art ([1], [2], [3]). Meanwhile, the term also appears in a straightforward, descriptive sense in language learning texts, offering a clear definition as seen in a Spanish reader ([4]). Additionally, in works like Stephen Crane’s narrative, the ventriloquist enters the scene almost as a follower of another art form, suggesting an intriguing interplay between performance styles ([5]). Finally, Chekhov’s use of the term in a theatrical context, complete with audience applause, underscores its dramatic and perhaps ironic connotations ([6]).