[转帖]老外也有喜爱配音的.....(英文)

[这个贴子最后由norwoods在 2003/12/06 04:41pm 第 1 次编辑]

 "Hey, You Sound Just Like Marlon Brando, Robert Redford and Paul Newman!"
                                          by Jeff Matthews

There seems to be no middle ground on some subjects. You're either for it or against
it. Film dubbing, for example: i.e., replacing the original dialogue of a film with a
translated version in another language. (Thus, Italian actor/dubber Giuseppe Rinaldi
has made quite a living for himself as the Italian voice of all three American
actors mentioned in the title of this article.) The alternative to dubbing is to show the
original version and have the translation as subtitles at the bottom of the screen.
Intellectuals, who love to hang breathlessly on the subtle suprasegmental vocal
inflections even of languages they don't undertstand, like  films in the original
language. Clods, like me ?people who just want to enjoy the film and who don't want
to bounce their eyeballs constantly up and down from picture to subtitle to picture to
subtitle?generally like their films dubbed.
Certainly, some films are meant to be dubbed. International Westerns, for example,
of the kind filmed in them thar wide open spaces out yonder near Zaragoza in Spain,
have such international casts, that if they weren't dubbed into a target language for a
specific country, the dialogue would go:
 "Hey, you dirty varmint! I saw you pull them aces out of yer sleeve!"
 "Drecksau! Du spinnst wohl, was?!"
At which point, a voice of reason, Svetlana, the Belle of Murmansk, might interject:
"rgin  yt  vdgjni,." (Literally, "Your carburator is green, but my duck is very ill").
Here it's a good idea to dub, because even with subtitles it would sound strange to
hear everyone speaking a different language. (Maybe that accounts for the wooden acting
in so many of those League of Nations horse operas 梟o one understands what
anyone else is really saying!) On the other hand, historical documents, perhaps,
should be preserved in the original. The best argument I ever saw against dubbing
was a scene from Leni Riefenstahl's  epic Nazi documentary, The Triumph of the
Will, in which der F黨rer was ranting and chanting in an ugly gutteral English 梫is ze
vorld's vorst Cherman akzent!
For most films, however, many countries avoid subtitles almost entirely and dub. In
Italy it is big business. Films are dubbed so well and so consistently in Italy, that it is
common for a single dubber to shadow the career of a foreign actor for years. For
example, with your back turned to the screen, even if the film is in Italian, you know
that Woody Allen is speaking, because his dubber is always Italian comic Oreste
Lionello. As noted, however, some dubbers are well known as the voices of more than
one actor.  Emilio Cigoli does both John Wayne and Clark Gable, so you may
actually have to turn around and look at the screen to find out if you're watching
Stagecoach or Gone With the Wind.
It's a sociological study, in itself, exactly why some countries go for dubbing and
others for subtitles. In some cases, it might simply be a matter of economics. Putting
subtitles on a film is infinitely cheaper than good dubbing, which involves a sound
studio, hiring voices for each character and doing take after take in an attempt to
get the original inflecions into a voice, and then making sure that the new language
synchronizes as well as possible with the lip movements on the screen. Nothing is
worse than bad dubbing, where the emotions of the voice don't fit the action, and
where the synchronization is so out of whack that half the time the actors look like
poor souls on street corners  making silent fish-like mouth movements to themselves.
Yet, there are certainly other reasons for choosing whether to dub or subtitle. The
first time my Italian wife heard Marlon Brando speak with his own voice, she was
disappointed, even saddened, by how "unbeautiful" it was! "He could never have
been a successful actor in Italy with that voice," she said. (This reenforces my belief
that Italians are simply in love with their own language! 梐ll those trippling and
honeyed sounds, with no consonant clusters and potato-like r's. Sigh.)  Indeed, except
for comics, Italian actors all seem to have that fine, well-modulated, declamatory
speaking voice associated with legitimate theater.
Interestingly, voices of even native-speaking Italian actors may be dubbed. One, the
director may simply want another voice for the part, perhaps one which is more in
keeping with the character. Two 梥ince in Italy the entire sound track is generally put
in after the filming, anyway?maybe the original actor just had another date on
dubbing day! Three,  an actor might have an unpleasant speaking voice or noticeable
regional accent, one or both of which reasons may be behind the fact that for years,
even if you saw Sophia Loren speaking Italian on the screen, that wasn't her voice
you were hearing 梥he was dubbed.
Aesthetics aside, there was surely in Italy one overriding factor for dubbing films
when talkies started (the late 1920's): films were an ideal medium for spreading a
single standard language throughout a nation still divided linguistically by different
dialects. Then, after two decades of good dubbing, Italians were so used to standard
Italian in films, that when the wave of post-WW II Italian films  known as
"Neo-Realism" came in, with their dialogues recorded live in Sicilian, Neapolitan and
Roman dialects, it came as a shock to many Italians to realize that they didn't really
understand many of their own countrymen! ('Precisely the point,' said more than one
Neo-Realist director.)
Italian dubbing is generally so good, so authentic, that mimics will regularly "do"
foreign actors who have characteristic vocal styles 梥ay, John Wayne or Jimmy
Stewart. Here, even if you don't understand Italian, you may "get it," anyway,
because the mimic is imitating a dubbed version which is uncannily close in timbre
and delivery to the original. Indeed, in the case of Greta Garbo, the dubbing was so
good that Garbo, upon hearing herself in Italian for the first time, sat down and wrote
a fan-letter to her Italian voice, owned by actress Tina Latenzi! And some dubbing, of
course, requires the same unusual verbal dexterity as the original voice
梬itness the tongue-twisting pyrotechnics of Stefano Sibaldi, the Italian voice of
Danny Kaye.
Perhaps the strangest sidelight in this whole matter is that dubbed voices can become
part and parcel of another culture, evoking allusions and inside jokes just as do the
original voices in their own culture. The Italian voices of Stan Laurel and Oliver
Hardy are the best example of this. When talkies came in, Laurel and Hardy
had already achieved world-wide fame on the basis of their short silent movies. There
was such a new demand for them speaking, however, that for a time they actually
reshot their scenes hurriedly  in other languages(!), pronouncing their lines from
scripts written in phonetic English. These scenes would then be sent abroad to be
spliced into the rest of the film, which had been  remade in the target language using
local actors! That soon proved impractical, especially for longer feature films.
Consequently, for the Italian market the decision was made to dub the films of Laurel
and Hardy in  American studios using Italian-American actors, who, presumably,
thought they were speaking standard Italian. Their Italian, however, had been
maimed by at least one generation of nasal semi-vowels, unrolled r's and Wrigley's
Spearmint.
When the studios in Rome reviewed the first dubbed-in-America Laurel and Hardy
film to see what they had, the American English accented voices were so hilarious,
that someone came up with the idea of redubbing  everyone else into normal Italian,
but leaving Stan and Ollie with accents. There followed a nation-wide contest to find
the voices of Laurel and Hardy in Italian. One winner was the now famous Italian
comic, Alberto Sordi, whose career started as the voice of Oliver Hardy. His
anglicized Italian as 'Ollie' has become so much a part of Italian popular culture that
an Italian, today, can do Oliver Hardy by saying, with a broad English language
accent, "stupido " (accenting the second, instead of the first, syllable, in imitation of
Sordi's version of Oliver Hardy) and have it recognized as instantly as an
English-speaker would recognize, "Well, here's another fine mess you've gotten me
into!"* Indeed, Italian mimics still regularly pay tribute to Laurel and Hardy,
imitating the dubbed voices. (The Italian voice of Stan Laurel was Mauro Zambuto,
who, after WW II, moved to the United States and became a professor of Electrical
Engineering at the New Jersey Institute of Technology!)
So, without taking anything away from the  universal nature of the humor of Laurel
and Hardy, it is fair to say that in Italy, much of their popularity was 梐nd still is?
due to the spectacularly successful way they are dubbed. There is no Italian comic
(not even the great Tot? who, by voice alone, is as recognizable as are Laurel and
Hardy in Italian.  The only competition in recognizability might be the Italian voice of
Donald Duck! Most of the voices in those cartoons are, indeed, dubbed into
relatively normal Italian 梕xcept for Donald. He still quacks, but his Italian dubber is
none other than  Clarence Nash, the original English voice of Donald Duck for the
Disney studious and who dubbed himself into many foreign languages 梚ncluding
Japanese! Apparently, Nash was one of the few persons to have truly mastered the
difficult trick of compressing air in the cheek cavity and producing articulate quacks!
(Phoneticians call this the "buccal voice". To the rest of us, it's known as
'duckspeak'.)
Anyway, gotta run. I hear the sultry, breathless tones of Rosetta Calavetta on the
tube. Marilyn Monroe, to you.
                          
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
            
很多观点跟我们很相近，比如：
  "....Clods, like me ?people who just want to enjoy the film and who don't want
to bounce their eyeballs constantly up and down from picture to subtitle to picture to
subtitle?generally like their films dubbed.  "

  "...Nothing is worse than bad dubbing, where the emotions of the voice don't fit the action,
and where the synchronization is so out of whack that half the time the actors look like
poor souls on street corners  making silent fish-like mouth movements to themselves."
            
还有很多篇幅介绍了意大利的电影配音业。

意大利有个配音演员网站,还有个投票系统
我给著名影星GIANNINI 头了几票
里面不伐骏男美女. 说明外国竞争有多么激烈. 哪象中国一个猪八戒脸能一帆风顺.
这和中国其他演员和配音演员的消极,是分不开的

此外,我好象觉得只有在中国的外国人,才能叫老外吧

下面引用由小辛55在 2003/12/07 07:19am 发表的内容：
意大利有个配音演员网站,还有个投票系统
我给著名影星GIANNINI 头了几票
里面不伐骏男美女. 说明外国竞争有多么激烈. 哪象中国一个猪八戒脸能一帆风顺.
这和中国其他演员和配音演员的消极,是分不开的
...

呵呵，意大利本身就俊男美女多，不要说演艺圈里的，随便上街逛逛就能找到一堆帅哥美女.........