USSR re-voice.

USSR re-voice. Golden wrists Cinema. Sometimes someone sings on the screen, but when he doesn’t know how to sing, then one artist sings, and another one opens his mouth. Sometimes the substitution is done so gracefully that you don’t even notice the change in voice. There are singers who know how to adapt, that is, sing not only in their own voice, but also in the way the hero needs. Voice selection. The famous Elektronika twins are generally the sonorous voices of girls. These are artists Irina Grishina and Nadezhda Podyapolskaya. And Elena Kamburova sang all the movie hits. Sexual selection, one might say discrimination, Huckleberry Finn - Vladislav Galkin. The boy was voiced by Alexandra Nazarova. Voicing. Soviet cinema discovered one incredible human secret - the voice. That is why many great artists were also dubbed by others who were no less great. All this happened by chance, like all significant discoveries. “Absolutely by accident,” many of the artists of the “Union Republics” spoke with an accent, so so that it does not look like a parody, when, for example, in a movie, the ancient Greeks speak either with a Baltic or with a Georgian accent, the directors combed everything and worked it out. The artists were artists, and their voices were just voices. So! Donatas Banionis became Zinovy ​​Gerd, like Vakhtang Kikabidze, and he is voiced by Konstantin Stepankov. Marina Vladi speaks in the voice of Zoya Tolbuzina, Talgat Nigmatulin - Nikolai Karachentsov. Regimantas Adomaitis was voiced by Alexander Demyanenko. Nodar Mgaloblishvili in the role of Count Cagliostro is Armen Dzhigarkhanyan. Asanali Ashimov - Alexander Kalyagin. And of course everyone knows that Barbara Brylska is Valentina Talyzina. Empire is not politically correct on paper, but for the viewer these are unexpected masterpieces. Tiers of stars, “sandwich”, dissonances - converging into harmony, sometimes close to ideal. Logic of narration, literary and historical characters. Do they need additional subtext? Ostap Bender - Archil Gomiashvili. Voiced by Yuri Sarantsev. Paganini - Vladimir Msryan. Voiced by Sergei Shakurov. Whipped. Here I have a deliberately “national selection”. But only to emphasize the contrasts. In fact, all this work was not carried out sporadically, but at the level of a creative technique. They replaced them when the artists had some kind of speech impediment, and sometimes, on the contrary, they did this and there were no speech impediments. We decided, when it was necessary, to “do something.” Sometimes “for the role” a soft voice was needed, not suitable for some actor’s naturally very harsh voice. It is very difficult for a tenor to imitate a bass. And why? When you can pick up anything you want. Not everyone is endowed with beauty and talent, body and voice and everything else that arises “according to the role.” Cinema is expensive and there is a high risk of failure. Voice is also a risk. Therefore everything must match. We know the practice of showing "bed scenes" through dubbing of naked bodies. Spectator risks. Risky individual genres. And the body is risks, porn actors are also paid for risks, and the genre is fraught with many dangers. Illness and injury.

Perhaps even voice ones. Yes - imitate an accent - sweat. The use of human resources allows us to avoid many dangers. That's what stuntmen are for. Trickery and everything is not what it seems. But all for the sake of impression. The art of duplication and even dubbing. Doubles and many matches. There are no unifications, and a jack of all trades. Episodic - episodes, and stable practice. Saving or lack of resources. “America” also re-voices “European actors” if their monologues are too long to “polish the accent.” Arnold Schwarzenegger on screen. Behind the scenes: unknown actor. Compliance with roles. All this was checked by “producers-directors” and selected the ideal voices, so phonetically Soviet films are a fairly strong artistic phenomenon. Perhaps this was facilitated by the great tradition of dubbing foreign films. In many countries of the socialist camp there were completely different traditions, for example the tradition of watching films in a foreign language with subtitles. By the way, this greatly contributed to the fact that by going to the cinema, people mastered languages ​​quite well. TV - we obviously used re-voicing to combat foreign languages. In essence, this is a re-creation of a separate audio film, a new artistic project. If they could do this very badly, then the “entire national power” of foreign cinema would be leveled out. The traditions of radio plays were very strong - that’s why they did it well. Maybe the artist just didn’t want to play poorly in great films. Maybe everything happened because there were a huge number of professionals in the profession. To prevent Soviet people from being fascinated by languages, foreign speech was completely replaced, and for those who knew the languages, the content was often even adjusted. Rewiring, cutting, bills, and they did it so deftly that they even tried to match the movement of their jaw exactly to the words. It was a real art of dubbing, and theater and film actors of the first magnitude were involved there, so that sometimes even when watching foreign classics, it’s surprising that you suddenly realize that they are being voiced by “Our Favorite Artists”, weren’t you too lazy? Or did you go for a long ruble? Today, domestic stars are also assigned to foreign stars. Listen and pray. Somulier, voice selections, duets, bouquets of various things. Actor castings. Tradition or political necessity. But creative needs. “Cruel Romance” Actress Larisa Guzeeva, who played the main role in the film, has the soft voice of Anna Kamenkova. “Seventeen Moments of Spring”, Martin Borman - Yuri Vizbor. The singer’s gentle voice was replaced by the hard voice of Anatoly Solovyov. “The Diamond Arm,” the southern Russian by Svetlana Svetlichnaya, was replaced by the fatal one from Zoya Tolbuzina.” Igor Kvasha “made” his own among strangers Actor Alexander Porokhovshchikov. “Midshipmen, forward!”, Sergei Zhigunov, was voiced or even played by Oleg Menshikov. “Above the Rainbow” Dmitry Maryanov. Voiced by Dmitry Kharatyan. The specific low voice of Boris Khmelnitsky. Voiced by Alexander Belyavsky. “The meeting place cannot be changed” by Varya Sinichkina. Voiced by Natalya Rychagova. “The Adventures of Sherlock Holmes and Dr. Watson” by Professor Moriarty. Voiced by Oleg Dal - the decoration of any film where he even appears sideways. Inspector Lestrade - Borislav Brondukov. Voiced by Igor Efimov, the officer is an officer. "D'Artagnan and the Three Musketeers", Constance - Irina Alferova. Voiced by Aramis - Igor Starygin, voiced by the more correct and ideal Cardinal Richelieu - Alexander Trofimov. Kozakov. Natalya Varley herself did a lot of dubbing, but in her main works, in Gaidai, both “Viy” and “12 Chairs” there is a specific boyish voice of a completely different great artist Nadezhda Rumyantseva, “Solaris” the Soviet actor Vladimir Zamansky was involved in the dubbing of Banienis. Sometimes you really wonder why only the voice, and not the face. It’s interesting when hacking and people become colors. in the hands of the creator. So from one person they make several, because of poverty, and maybe someone can add the art of stunting to this. Not everyone has the skills, body, fearlessness, strength. Sometimes it’s just expensive to take risks, and someone else is paid for the risk #art . #Graza #G_R_A_Z_A #artanalytics #painting #azariy_gorchakov #graphics #artwork #graphicart #portrait