Seiyuu is called a "monster", which is similar to the truth that an actor is praised for his "superb acting skills" and is a sincere appreciation of his basic skills and acting skills.
The word "seiyuu" comes from Japanese and is basically synonymous with "voice actor" in China. At the moment when culture is prevalent, core secondary lovers prefer to use the word "seiyuu", which literally highlights the "actor who performs with voice" and downplays the sense of belonging brought by the word "Pei". The roles of animation and games are fictional, so these two dubbing emphasize imagination more, and it is easier for the voice actor to "blend in" with the role.
There is a solo album "China Dubbing Actors Are Monsters"-the style is relatively unified, such as Ji Guanlin, who plays the leading role in court drama, Jiang Guangtao, who plays the leading role in rural young men and women, and Zhen Huang Ji and so on. In contrast, there are uncles, young men, Leo, and precious wood, and all kinds of fine characters are decorated with flowers.
They are all the best voice actors in China today, and their sense of substitution and beauty are no less than those of Japanese seiyuu. An excellent voice, a mouth and a voice are the key to the audience's immersive experience. Boki Zhongyang said that the voice actor's mission is to "let the audience see, hear and believe his existence", whether it is three yuan or two yuan, old or new.
Ji Guanlin-It is almost the diva voice of Marisol in China at present. After dubbing the role of "Zhen Xuan", more people really pay attention to the dubbing industry. Figure/Beijing News
Seiyuu is called a "monster", which is similar to the truth that an actor is praised for his "superb acting skills" and is a sincere appreciation of his basic skills and acting skills. For voice actors, actors perform with their bodies in front of the stage and with their voices behind the scenes. The essence is the same: "acting" for each role, a few words will bring the audience to see a character, enter some scenes, touch some emotions, become an important puzzle of a perfect performance, and even make the audience forget dubbing-this is their ultimate pursuit.
But what many viewers don't understand is that the real professional dubbing work is never as simple as a person, a good voice and a monologue. In addition to the voice actors who live alone behind the scenes, it is the basic operating rules of an industry and the skills and initial intentions of practitioners.
Jiang Guangtao, whose voice is called "Handsome Boy's Voice", has won the support of many young people in film and television dramas.
"A good voice actor is actually a good actor." ?
1997 After Hong Kong's return to China, Jiang shuttled between Hong Kong and Beijing, mainly engaged in Mandarin dubbing for co-productions. Over the past 30 years, he has participated in more than 1000 film and television works, from voice actor to voice director.
He was the last voice actor of 1982 to join Shaw. Like many voice actors, his voice is more famous than himself. In the 1980s and 1990s, Hong Kong films provided voices for actors such as Chow Yun Fat, Jackie Chan, Jet Li, Stephen Chow, Andy Lau and Leslie Cheung, and he was also one of the outstanding Hong Kong Mandarin voice actors. ?
From dubbing a person to designing the overall dubbing effect for all the characters in a play, "Don't let the film lose points, add icing on the cake to the characters and films with sound" is Jiang's restrained and full self-demand for more than 30 years, which is the guideline for his first-line dubbing and behind-the-scenes guidance, and the reason why he has no feeling about the sentence "seiyuu is a monster". Jiang doesn't quite agree with this high-profile expression that emphasizes individuality. No matter how strong the voice is, it can't break through the limitations of its expressiveness and function. He emphasized that dubbing is a team work, and it is a matter of "everyone gathers firewood and the flame is high".
Dongsheng Yihe River. Jiang was a good dubbing artist in the heyday of Hong Kong films in 1980s and 1990s. He has voiced male artists such as Chow Yun Fat, Jackie Chan, Stephen Chow and Jet Li in Mandarin. He also voiced Jackie Chan's twin brother with his predecessor, Zhang Peiru, in "Shuanglong Club", with similar performance and high praise.
Jiang grew up in an artistic family, his father Jiang Zulin was a drama actor, and his uncle was Shaw's voice foreman. Nowadays, Jiang has been engaged in dubbing for more than 30 years, which has enabled him not only to practice the hard work of dubbing, but also to accumulate rich contacts in the film and television circle. It is an important work of dubbing guidance to deploy dubbing actors, form dubbing teams and give on-site guidance. "Most voice actors are free, and I need to form another team according to the fixed team and film." Usually, there are old students, middle school students and young students in the fixed group, and actresses are also divided into Tsing Yi and Hua Dan. Beyond the need for a fixed team of voice actors, Jiang looked for it from his own circle.
On one occasion, a crosstalk performer made an appointment for dubbing, and something happened temporarily, so Jiang invited a friend of his bank manager to match him: "I have always observed that his voice and desire to perform are in place, and finally the tone and texture of the original crosstalk performer are exactly the same, and the director is very puzzled."
Dubbing is also one of the basic skills of actors. "Many big-name stars will come back to match themselves, and many actors have deep attainments in dubbing." Jiang specifically mentioned Zhou Xun, who had worked with Zhou Xun on "Women Are Not Bad" and "Eavesdropping". "Zhou Xun's voice is very talented. It is very good for the average actor to truly restore the state of live shooting, and Zhou Xun can not only restore the previous feeling, but even surpass it on this basis. "
At that time, Shao's dubbing atmosphere also made Jiang miss it so far: "We are all a group of people dubbing together, and some actors also participate. They don't think they are big names and are willing to play small roles. Qin Pei, John Chiang and Liu Dan have deep dubbing skills. " In Jiang's impression, many actors are good at dubbing themselves. John Chiang played Kou Liancai, the eunuch, in 1975 Li Hanxiang's "America laguna", but no one else was as simple as this role. Finally, John Chiang went into battle himself. Lisa Lu, who plays Cixi in America laguna, feels dignified and expensive, so the director named John Chiang's mother Hong Wei, because she is an authentic standard bearer and a master of voice. In Jiang's opinion, it is obviously expensive to speak at ordinary times. She speaks Mandarin very politely.
Cai Lan said: "I respect the dubbing industry, but I am opposed to the whole dubbing system." He believes that dubbing is a part of the performance, and the realism of live recording is irreplaceable by later dubbing. However, Jiang believes that there are too many interference factors in radio live broadcast, which is a great test for sound engineers; Usually, the production of post dubbing is necessary.
In the early years, the recording technology was backward, and many actors couldn't keep up with the schedule. "In the past, Ceng Zhiwei was not only Mandarin, but also Cantonese, and so was Jackie Chan, but both Chow Yun Fat and Leslie Cheung were Cantonese." Jiang still remembers the scene of A Lang's Story: "There used to be a new art studio, which was divided into two studios, A and B, and often started shooting in Mandarin and Cantonese at the same time. With Alang's story, I am worthy of Chow Yun Fat of A, and Chow Yun Fat of B next door is worthy of myself. I will go to Chow Yun Fat's own game, and sometimes he will come over and ask you how to say this sentence in Mandarin. "
In the new century, movies have entered the digital age, and the dubbing technology has also changed. The enjoyment of dubbing around the microphone in the past no longer exists. Now all the actors are one-on-one, and after pairing, everyone leaves ... and finally the opponents who dub are all together. "
You can imagine the difficulty of quickly adapting to different rhythms of performances every day and then performing them again with sound. Director, has worked with Jiang many times, and is also a voice actor. He once said: "A good voice actor is actually a good actor."
In previous Hong Kong films, "Tea" had subtitles, and "Martial Master" also had a name, but the dubbing was listed as "foreman" at most. In recent years, with Yu Ding, a famous Cantonese voice actor, winning the professional award of the Hong Kong Academy Awards, the voice-over of Hong Kong films has attracted people's attention.
"Dubbing is always passive", which tests the kung fu beyond sound.
In the movie era, whether performing or dubbing, it is not allowed for NG to be easy, which destroys a vocal cord and the hard work of all the dubbing actors present. The voice actors of that year must have the ability to match small pieces without making mistakes. "A 10,000-foot movie, one to ten books, each divided into several small pieces, and everyone practiced together before the official start." ?
Some voice actors in Hong Kong recite scripts by "climbing stairs". When they are familiar with the script, they open it and look down and up quickly to test their reaction and shorthand ability. Jiang used another method-quick memorization: both the monologue of Jackie Chan and his workmates in Major Crimes and the quick conversation between Stephen Chow and Maggie Cheung in Happy Family need to be memorized in advance. "At that time, young, remember soon. In the era of movies and vocal cords, you must have the ability to look at pictures and grasp the mouth shape without making mistakes, just like an athlete's muscle memory. Now the digital age is much easier, just repeat one sentence at a time. "
Happy events at home (1992).
Born in Beijing, Jiang has a clear and mellow Beijing accent, but he thinks that the beautiful timbre of dubbing is not the most important factor. "Just like broadcasting does not necessarily dub, it is useless to have a good voice."
Jiang said that the most important part of dubbing is the second creation. "Dubbing is always passive." Rhythm, mood and mouth shape should be aligned. If there is a slight flaw, the audience can easily distinguish it, resulting in a sense of disobedience and affecting the expression of the work.
At present, the living environment of full-time voice actors is not optimistic, and Jiang feels helpless about it. "Movies should be audio-visual enjoyment, but now they pay more attention to sensory stimulation, only visual effects, such as special effects, and the performance and dubbing of actors are slightly secondary. "Dubbing has become a natural and necessary job, with insufficient attention and low budget.
"Many voice actors around me also follow anime and games. I understand, but I won't try. In addition, advertising is advertising, and broadcasting is broadcasting. It can't be said that it is dubbing in general, which is completely different from what we do. " In Jiang's view, many network dubbing, anchors and video producers can only regard dubbing as a hobby.
Zheng Lian, a dubbing actor, has been engaged in dubbing for more than 30 years. He voiced Mao Zedong, Deng Xiaoping, Zhu De, Peng and Liu Bocheng in many historical films. The picture shows him dubbing the role of a mobile game.
There are a large number of people in Beijing dubbing circle, most of whom are freelancers. Jiang has come into contact with many amateur dubbing people who are eager to enter the circle, but except for a limited number of people who grow up slowly through TV dubbing, others can't meet the requirements of film dubbing. "TV dramas need a lot of voice actors, basically just remember quickly and feel good, but movies require more, rich emotions and enough life experience."
"We used to dub on the big screen, and the foreman knew how to slice the copy. Now the younger generation has never seen dubbing on the big screen. They can only look at the computer and watch the time code for a few minutes and seconds. They don't know how to look at this painting. " Jiang sighed. With the progress of technology, the enthusiasm and ability of creation have regressed, and may enter new routine restrictions, which is one of the new challenges for voice actors.
The Internet era provides a low threshold, high fault tolerance and a variety of possible worlds, and also gives non-professional voice actors more opportunities to show. It may be an important part of more and wider good works and characters. The standardization of the whole dubbing industry is an opportunity to leave traditional talents and cultivate emerging talents.
This is a profession.