French Voice for dubbing
- Love Hina – rôle de la blonde “fofolle”
Dubbing is the technique which replaces the voice of a foreign actor by a French voice recorded in the studio.
The new recorded voice is not superimposed over the other as it might be in “French voice-over“, but in fact it takes its place. In French voice-over, the voice plays in restraint to not encroach on the original voice, while acting dubbing must be identical to the foreign voice.
The voice dubbing is an activity that requires comedy qualities, but not only that. The acting ability must comply with the original soundtrack and respect identically the acting ability of the actor physically present on the screen.
The actor who lends his voice must be forgotten completely, leave his personality aside and somehow become the actor on the screen, only through his voice. To do this, rhythm and performance depth are essentials, and the ability to blend into the atmosphere created by the original character is a sine qua non condition.
An actor coming from a comedy course is unable to even claim to be able to become a voice actor, since this activity really requires a special talent and a full technical ability.
The dubbing technique is called synchronization technique. The actor must follow the “strip rhythm”, i.e. the horizontal strip that scrolled at the bottom of the screen, indicating him the text part that he should play, but also on the other hand, the sounds that he should reproduce, the breathing, and other small directions that are relevant to the performance.
The voice actor must become the screen actor and play like him, strictly. Performance and likeness must be such that viewers will think that the voice they hear could be the voice of the movie or cartoon actor that they see. The actor will be chosen following a dubbing cast and the one who will stick better to the character will be kept.
In 2009, I attended my first dubbing training course to learn about the technique. I completed my training by participating in many voice dubbing castings and continuing my theatre formation in parallel. In fact, regularly confront new guidelines in quite different performance styles, from one time to another, is very informative and allows you to maintain a certain continuing formation.
Since September 2014, I double the character of Doralice in the telenovela “Caribbean Flower”, a 120 episode series broadcasted in France 1ère Martinique. I also lend my voice to various telenovela characters of the telenovela “En otra piel” (a teenager, a femme fatale, a 4-year-old girl, a 20 year-old young woman).