UNIT 1 : INTRO

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SESSION 1 INTRODUCTION TO THE DUB-IN TRAINING

🎙️Welcome to Session 1 of our Dub-In training! 

Today, your students will explore how dubbing can enhance communication and emotional expression. 

This is an introductory session; you will start by getting to know each other through an icebreaking exercise to warm up participants’ voices. Then participants will discover the cultural significance of dubbing and its impact on effective communication, focusing on the power of the voice in conveying emotions. As you progress, you will gain hands-on experience with dubbing equipment and Dub-in APP and understanding the translation, adaptation, and synchronization stages. 

Our goal today is to develop baseline skills and knowledge required to start our dubbing experience for the following sessions. 

1. WARMING UP 

With this icebreaking exercise you will welcome participants and start the training. 

The goals of this first activity are: To get to know each other, to relax and participate in a group, to use your own voice.

SAY YOUR NAME (15 MIN) The trainer asks the participants to form a circle. Then, the one after the other, say their names, and also one thing they love doing and one thing they hate doing. Then the trainer takes a box with the cards and asks the participants to choose a card which has adjectives written on them such as “happily”, “pleasantly”, “funnily”, “angrily”, “sadly” and so on. Each one takes a card and reads it without saying her/hiss adjective out loud. In the circle, they all start saying their names according to the emotion written on the card. The other participants identify the emotion expressed. When everyone has said their names according to the chosen card, they all put the cards back in the box. The action is repeated at least 2 more times so that different participants’ express different emotions. In case the same card is chosen by the same participant, then the participant finds a different way to express the same emotion.

2. INTRODUCTION TO DUB-IN

The first question posed in this introductory lesson should be: What is dubbing? 

The trainers should present a short overview of the 1.1. subchapter of the Director Curriculum. You can use PPT 1.  

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WHAT IS DUBBING?

To the question of what dubbing is, there are various answers, which are all valid and define the different perceptions of dubbing, according to people’s relation to it. It is the knowledge of each country’s perception of the audio-visual screening of the dubbed versions of films and television series, a parameter that will be highlighted in the second part of this chapter. This gives to each country’s audience an emotional as well as a practical bondage to dubbing linked, on the one hand, to the memories of their childhood and, on the other, to the ease that dubbing provides audiences to watch a film in their own language. It is a highly technical enterprise that requires the efforts of technicians, such as sound engineers and sound editors, who record and edit the produced material. It is also an artistic endeavour that requires the creative potency and skills of translators, adaption artists, actors and directors, who are called to translate and transfer, in their own language and culture, an original material. Those two categories, the technicians and the artists, comprise a highly specialised group who carry out all the processes related to dubbing, as they will be analysed in the third chapter of this manual. 

The Belgian voice actor, Daniel Nicodème, explains that in dubbing the actor has ‘to learn to observe, to listen, to mime and to immediately enter into an emotion. You don’t build a role like in the theatre or the cinema. You have to dive right in and dare to play strong emotions, laughter and tears’. The comedian also raises the difficulty of dubbing a documentary with interviews. The difficulty encountered is that of speaking for someone who is not playing a role. This is where the use of ‘plating’ comes in, where the translated text is superimposed on the original voice of the interviewee, as it is more difficult to dub someone who is not playing a role.

Generally speaking, dubbing is the process of replacing the original dialogue from a video or film with new audio. It is a process during which the substitution of the original voice of the actors by the voice of other actors in a different language is required. Although it can be considered a practice similar to voice-over in the sense that the original soundtrack is affected in the process, dubbing is, however, different from voice-over in two respects. Firstly, because the original soundtrack containing the dialogue is totally erased and substituted by a new one in the target language, bringing forward cultural, lingual and similar issues that will be touched upon in the second chapter. Secondly, because dubbing must adhere to lip synchronisation, namely that in order to sound ‘natural’ and authentic, the spoken language by the voice actor should match, as closely as possible, the lip movements of the speaker on the screen (see Ranzato 2016) – this aspect of dubbing will be discussed in the third chapter of the present book.

There is, however, a more theoretical and technical definition of what dubbing is. As Maria Pavesi, Maicol Formentelli and Elisa Ghia remark, it is the process that:

Among the various translation modalities, dubbing is the one that most closely reproduces the goals and nature of the original dialogue, replacing the soundtrack of an audio-visual product in the source language with a soundtrack in the target language, with the aim of reproducing a semiotic whole acceptable to the new, receiving audiences (2014: 8).

This definition clarifies that dubbing belongs to the translation studies field, which is concerned with ‘the complex of problems clustered round the phenomenon of translating and translations’ (Holmes 1988 cited at Munday 2008: 5). As part of this field, it can be related to cultural, ethnological and other relevant issues, but it is also primarily linked to communication. This is one of the governing aspects that will concern the “DUB-IN” project, namely communication and how it can be enhanced and facilitated through dubbing. 

To understand the function of dubbing, a brief history will be provided. As Charlotte Bosseaux notes, ‘[d]ubbing is “one of the oldest modes” of AVT [Audio-visual Translation] whose “origins can be traced back to the late 1920s”’ (Chaume 2012: 1 cited at Bosseaux 2015: 56). Bosseaux remarks that the origins of dubbing can be found as early as the silent era of movies. She explains that those movies were ‘never fully silent as it was common to have intertitles along with, at times, a commentator […] narrating from behind the screen and on occasion even translating the intertitles’ (Bosseaux 2015: 56). Michel Chion also illustrates that those silent movies were never really silent because there were ‘the sound effects created live in some movie houses’ and ‘the commentators, who freely interpreted the intertitles that the audience could not read, since many moviegoers were illiterate and most were unable to cope with subtitles [or even intertitles] in foreign languages’ (Chion 1999: 8). This aspect, namely people’s illiteracy, has been a governing element regarding the implementation of dubbing throughout the ages, complemented by the fact that gradually dubbing became a strong tool regarding children’s programmes – as toddlers and young children were unable to read – and could also be regarded, one the one hand, as a way that the audience/spectators could be educated – by listening to their own language –, and, on the other, as a way to strengthen national identity, since language resonated through the dubbed material and, furthermore, became imbued with culturally specific intonations (see Pavesi, Formentelli and Ghia 2014: 220-222; see Galán, 2020 and the section of ‘Dubbing in Spain’).

Bosseaux describes that, back in the 1920s, intertitles were easily replaced in the multiple language versions of films because they ‘were removed, translated, drawn or printed on paper, filmed and inserted again in the film’ (Bosseaux 2015: 56). When dialogue was introduced in the late 1920s, a need for a new way of handling translation was required and a shift occurred towards dubbing and translation – ‘initially into French, German and Spanish’ (Ibid.: 57). Because subtitles were not popular with audiences, during that period, translation became part of the post-production process and ‘a new solution was introduced: multiple film versions’ (Ibid.). Thus the same director would make the same film in two or three different languages using the same actors, although on occasion some actors could be changed if additional languages were involved (Ibid.). It can be assumed that this venture was cost-intensive, however, in order to substitute it with a different technique an advancement in technology and subtitling and dubbing techniques had to advance. When this occurred, translation and dubbing of films were ‘relegated to the distribution process, where it remains to this day’ (Ibid.).

Today dubbing is a highly appraised genre internationally. It can be applied in multibillion films shown in cinemas, in television soap-operas, in children’s programmes and/or in any cinematographic material. It involves famous actors who give their voices in animated characters or other fictional characters in live action films, but it also comprises a very succinct and highly trained and skilled group of actors who specialise in dubbing. As will be indicated in the following section, each country has a different policy regarding dubbing.

3. DUBBING SCENES

Here are some dubbing scenes as examples (There are numerous on the internet and each trainer can prepare or develop her/his examples accordingly). https://www.youtube.com/watch?v=LFtyiWaCnMA

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4. THE IMPORTANCE OF THE VOICE

Explain the importance of the voice, its cultural significance and the link to emotions. Focus on the expression of the voice in relation to tone, volume, speed, etc. 

An overview is presented in subchapter 2.1. of the Director Curriculum. 

You can use PPT2.  

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THE POWER OF THE VOICE IN DUBBING: AN ARTISTIC AND CULTURAL JOURNEY  ‘The voice is elusive. Once you’ve eliminated everything that is not the voice itself – the body that houses it, the words it carries, the notes it sings, the traits by which it defines a speaking person, and the timbres that colour it, what’s left? What a strange object, what grist for poetic outpourings…’ (Chion 1999: 1).6 The voice is an exceptional instrument. Its intonations, its pitch, the variations that it can materialise are uncountable. It has a power of its own. It can be taken away from the person who creates it and be used in other backgrounds and environments.  It can be cut, edited, remixed and digitally processed, however, the creature who pronounces it adheres to each vocal material a uniqueness and their voice always leaves a substantial print. The voice in cinema supports and completes the image. As Michel Chion in his emblematic book The Voice in Cinema rightly explains: ‘Only the creators of a film’s sound – recordist, sound effects person, mixer, director – know that if you alter or remove these sounds, the image is no longer the same’ (1999: 3-4). In dubbing, artistically, the voice concentrates the emotional manifestation of each character and is the summit and culmination of the emotional as well as the physical expression, namely through the voice we have to be able to imagine a specific emotional and/or physical condition and, conversely, a particular body claims a specific voice. This is mainly the reason that major production companies are so specific about the choice of voices that will fit each character and the main reason that in almost every film or television series there is voice casting (see Ranzato 2016: ). For dubbing actors, as Rolf Giesen and Anna Khan rightly explain, acting is an “out-of-body experience” (2018: xviii), that means that every body movement, every facial expression and every gesture that the actor who is going to be dubbed performs on the screen has to be imagined, fantasised and performed in front of the microphone by the voice actor. This is the reason why the power of the voice can be so useful in the DUB-IN project, because a lot of the dynamics in dubbed materials come from the acting input of voice actors (Giesen & Khan, 2018: 147). This is true because, in the end, the voice is what transmits the cries and the whispers framing the emotional variations of a character on screen (television or big screen, it makes really no difference). This liaison between the voice and the expression of emotion is what will enable the DUB-IN project to function. The multiple intonations and manifestations of the voice delve deeper into the essence of communication, which has as a main goal, as already mentioned, the expression of emotion. Within this framework, the voice transports the words, along, of course, with other sounds (cries, screams and so on), and becomes the vehicle of what the dubbed material aims to transmit.  In every culture the voice can have a different expression. As the important Greek director Karolos Koun noted: Even though every human organism reacts in the same way all over the world, the expression of this reaction differs: grandeur and fear are depicted with different ways in the East and the West, and a cry of despair sounds different in the Equator and the Steppes (Koun, 2000: 36). The cry from a person in Equator is different from that of a person in the Steppes precisely because of what we can classify as cultural specificity, namely a uniqueness that is confined to a culture (Antoniou 2017: 39-40).  It is, therefore, legitimate to remark that the voice has a power to express this uniqueness that pertains to a culture. An eloquent example, linked to dubbing, can be provided if we watch closely the multilingual variations of the performance of Scar, the villain in Disney’s film The Lion King. It is evident that these variations of the voice and the different intonations of the words within this specified material can depict the differentiated expression of malice and patriarchy according to each countries’ and national languages’ artistic expectations and goals but, most importantly, its culture (see https://www.youtube.com/watch?v=LFtyiWaCnMA). Consequently, it is true that dubbing is ‘a multi-layered and integrated process: not only does the process of dubbing operate on a polysemiotic text – the original version –, but the result of this process – the dubbed version – also constitutes a polysemiotic text itself’ (De Bonis, 2014: 252-253), providing a cultural and ethnological link every time that a text is dubbed for an audience.Dubbing a character also means reproducing habits, expressions, and everything that is linked to a particular culture. It is a real cultural and personal appropriation to create your own identity. There are numerous examples of the way that the voice of a character ‘travels’ in a different culture. In Greece, the famous actor and comedian Lakis Lazopoulos, who performed the part of Phil in the Disney film “Hercules” manifests a characteristic example. In his performance Lazopoulos used his voice in such a way as to refer to a part that he had performed, with enormous success, in a television series that was presented on the Greek television some years before. This way, he was able to bring closer to the Greek audience the part he was dubbing, the audience was able to identify with a popular character they were familiar with and, thus, create a viable, dynamic intercultural liaison between the original film and the Greek popular culture. In the animate movies «Finding Nemo» and «Finding Dori» the protagonists were dubbed by two well-known actors, Dimitra Papadopoulou and Thodoris Atheridis. Before that, they had successfully starred in a very well-known TV series. Also, in the film «Inside out» the role of «Joy» was played by Nadia Kontogiorgis, an actress who was quite similar in appearance to the animation. In Spain, there are also many examples of dubbing in which the cultural reference (cultural elements such as characters, jokes, places, etc. that represent and differentiate us as Spaniards) is essential to complement the dubbing and encourage the public to see itself represented.  This happens in many movies, Shrek being one of them. José Mota, a Spanish comedian, at one point put into the donkey’s mouth a tagline of his, known to all Spaniards. This phrase was completely different from the original text, but it makes the scene unforgettable. Another example happens in Austin Powers, dubbed with the voices of Florentino Fernández, also a comedian and Spanish impersonator known as Flo. Flo, in addition to including multiple cultural references, makes some of her characters speak like people known in Spain, the Fat Bastard character speaks like Jesús Gil y Gil (Spanish businessman and politician who became a figure with a strong presence in the media, due to his strident style and tendency to insults in his statements); Likewise, Dr. Evil does it like Van Gaal (Dutch former football player and manager of FC Barcelona in the 90’s). Moreover, as many voice actors will admit, they never miss a chance to add their own personal, artistic as well as culturally specific, touch to the dubbed material. This could be a popular intonation familiar to the receiving audience, a customary phrase, a widespread quotation, a national song – in collaboration with the adaptation writer and/or the director –, or a personal take on the part that allows the actor to give her/his personal interpretation, namely his acting performance. Beyond the artistic and cultural perspectives of the voice, in order to reflect further and deeper upon the aims of the DUB-IN programme, we should mention, in passing, the pedagogical power that the voice possesses. It is a dominant awareness that the educator uses her/his ‘own voice as a tool to share and express a useful message that is part of her/his pedagogical acts’ (Posada 2019). Thus the tone, the intonation, the volume, in general all the characteristics of the voice play an important role in all learning procedures. Within this spectrum, the voice has an educational force, apart from the artistic and culturally specific intonations that it possesses. Even though this particular aspect of the voice will not be fully explored in the DUB-IN project, it is important to keep it in mind. Keeping all the above characteristics of the voice in mind, we shall move to explore, in the following part of this chapter, the voice and its function in people with psychosocial disabilities.

5. LEARNING OUTCOMES

Trainers should pay attention to build trusting relationships and create a comfortable environment, promoting a supportive and accepting classroom atmosphere, that positively impacts students’ voice and communication. 

By stablishing learning outcomes, trainers can better cater to the needs of students with psychosocial disabilities, fostering an inclusive and empowering learning environment where all students can thrive.

Theory can be found on subchapter 2.2 of the Director Curriculum. 

See Learning Outcomes.

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THE POWER OF THE VOICE IN PEOPLE WITH PSYCHOSOCIAL DISABILITIES

In the following section we will present some of the major characteristics of the way that the voice is used and pronounced by people with psychosocial disabilities (PwPD). We need, however, to note in advance that the voice of PwPD does not manifest in the same way in all cases. This means that, on the one hand, there are more negative symptoms related to schizophrenia, severe depression and so on. In these cases, PwPD have a greater difficulty with their use of their voice in order to express emotions. On the other hand, there are categories when PwPD show greater productivity, such as personality disorders, mania, productive schizophrenia and so on. This means that it is hard to embrace a prototype because there is a lot of diversity. Thus in DUB-IN, when working with the specific case scripts and specific groups, each professional who works with PwPD will have to adapt to each case.

Starting with the voice modulation and the tone, it has been observed that there is a tendency that PwPD can be very quiet and, when they speak, they pronounce softly. Their tone is usually flat, with a certain monotony and there is no change of tonality in the phrase according to the intonation or the emotion that is expressed. However, when the production of speech is not so limited, in the more functional cases, the tone can be higher and the modulation can be more frequent, especially when there is pressure of speech. In such cases PwPD could have a double voice, namely a different tone, depending on who they are addressing, or a voice with high pitches in between, particularly when they are nervous, feel anxious and insecure.

The voice takes alternate manifestations related to its volume and its speed. Both volume and speed vary widely and depend on the psychosocial condition the person has, the period that she/he is going through, namely if her/his problem is “active”, the social milieu and/or the situation the person is found in. Thus the volume can be low, in more complicated cases or in situations where a person feels uncomfortable and/or stressed, or is in a disadvantageous position, but, for the same reasons, it can also be high-pitched and loud. However, variability in the volume is not common in one single person. The speed, as well, can be anything from really slow to really fast. Slowness is linked to negative symptoms and slower cognitive processes, while more rapid speech in cases of more positive symptoms. The fact that the speed is fast can result in unclear speech, rushing sentences and possibly muffled, not clearly pronounced words. 

The problematic issues regarding the manifestations of the voice are linked to facial expressions. As a general observation, PwPD with stronger problems find it hard to put across emotions through their face and, usually, their expression is flat, that is, with less expressiveness. They tend to use minor movements, making them appear more or less the same in all situations. There is, therefore, a reduced ability to perceive and show emotions through their face. Lighter cases of PwPD use more facial expressions, they use more facial movements, a wider variety of conveying their feeling, and, at times, there also employ a “theatricality”, namely a kind of exaggeration that projects a condition more animated than the emotion requires. Some PwPD have a difficulty understanding the facial expressions of others and can miss reading subtleties such as sarcasm, or even they can sometimes perceive a threat when it does not exist. 

Visual contact is also varied. Stronger cases of PwPD have difficulty with eye contact. They find it difficult to maintain it, and some even avoid it. There exists a tendency to look elsewhere and, according to their condition they can fear it or have a blank stare. In other lighter cases, there is the possibility that eye contact is good, especially at the beginning of a conversation. However, there are PwPD who express intense eye contact that could be considered inappropriate. 

In relation to the coherence of the message that a person aims to put across and the overall expression, namely vocal, facial and visual, in most cases of PwPD there is incoherence between the message and the expression. However, depending on the psychosocial problem, they could be coherent and clear as well as eloquent speakers. In a psychosis, PwPD can be incoherent at times. Coherency suffers more when a PwPD gets nervous, anxious or feels insecure. PwPD can often believe that they are expressing an emotion, but, in reality, they have a similar manifestation for almost every emotion. On the one hand, if an expression changes the change is mild, for example, a smile that seems a little spontaneous, and, on the other, there is a more exaggerated facial expression than what is felt. 

PwPD not only do they have difficulty expressing their own emotions, they also have a difficulty adapting to the mood of a situation and to the expression of their interlocutor and their emotion. The adaptability, again, depends on the psychosocial problem, whether the problem is “active” and on the situation the person is in. However, as a general rule, PwPD have a difficulty reading expressions on peoples’ faces. This results in poor communication as they are not able to adapt to the change in conversational discussion because they have a reduced ability to perceive the mood and the expression of their interlocutor. Additionally, there can exist lack of empathy or verbal control.

PwPD find it difficult to adapt with flexibility in most cases when a context changes. They cannot easily discriminate between the context and a flattening linearity is usually observed. In different contexts they can have an exaggerated reaction to a situation. Then, their reaction can be histrionic. The more comfortable, secure, safe and familiar they become with a situation the more their voice is normalised. It has been observed that when they feel a stronger bond with an interlocutor, namely when they are familiar with them, their language becomes more fluid and there is a substantial difference in their expression, as anxiety deteriorates. This is also true when their interlocutor is treating them with ease, sympathy and empathy. Then it is easier to talk in a more normal voice. Conversely, if an with the easier the communication is.  The trust between the people communicating will influence their level of participation. A governing factor that defines 

PwPD’s voice and utterance is their mood, which follows the same nuances regarding their condition and their state.

In general, PwPD have difficulties in their expression of emotions, either by interlocutor is perceived as a stressor, that is, unfriendly and stigmatising, it has a negative effect on their reaction and consequently on their voice, which can become too loud or too quiet or too fast or blank or panicky. Therefore, the more they know the person they are communicating oppressing them or by conveying them too vividly. Through the DUB-IN project our aim is to allow them to find ways in order to control their expressiveness and communicate more easily. This can happen because, as has been observed, they react positively when they feel at ease. Thus by familiarising with everyday situations, they will become accustomed to handling them..

6.DUBBING TECHNIQUES AND EQUIPMENT

Getting a first contact with the dubbing techniques and equipment. All the information can be found on subchapter 3.1.1. of the Director Curriculum. 

Firstly, you can explain the stages of dubbing. See PPT3. Dubbing Stages 

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THE STAGES OF DUBBING 

As Charlotte Bosseaux notes: ‘Dubbing is an example of constrained translation’, this means that ‘there is more than the linguistic code to take into consideration’ (Bosseaux, 2015, 57), because ‘dubbing is about recreating a dialogue for a film [or a television series] in the native language of a targeted audience’ (Perez Segura, 2020). Consequently, in dubbing the exact, mot-a-mot or even literature, translation of the text, is not enough. Moreover, in dubbing one should not merely translate, but, literally, adapt the original script because in dubbing one does not solely translate the text but also the performance of the actress/actor on the screen. Thus there are two stages in translation, the first is the translation of the text and the second the adaptation of the translated script to the screen performance, which could be carried out by the same translator, if they are experienced, or by an adaptor, who tries to give meaning to a text in a literal and visual way. 

The translating/adapting process has to take into consideration the fact that it is a text to be uttered and performed by a voice actress/actor in front of a microphone and ‘in dubbing, timing is everything’ (https://dubbingking.com/dubbing-in-film-video-games-and-music/). So they should keep in mind the following parameters:

1. The duration of the line – that is, the time that a line takes to be pronounced by the performer, which will define the time that the voice actress/actor has to speak. This could be challenging because what is said in three-four words in one language could be said in one word in another or vice versa. 

2. The rhythm and speed of the speech within the line – this means that to keep the duration of a line, as noted above, is not enough and is linked to several issues. 

a. Within each line, the voice actress/actor has to follow a similar tempo of the screen performer, because –and this is essential in dubbing– the voice of the performer does not represent solely the words uttered from their mouth but their whole body, their mood, their emotional condition, and so on. 

b. The utterance of a performer also mirrors the spatial conditions of a scene, namely if it is set indoors or outdoors, if the performers are close one to the other, and so on.

3. The volume of the voice of the performer within each line – for the above two reasons, because the volume also differentiates the tempo, the pronunciation and so on.

4. The general screen performance of the actress/actor – so a text for dubbing should also include the pauses, the reactions (coughs, sighs, swallows, breaths and so on), the physical interactions (greetings, kisses, slaps and so on), etc.

All the above should occur because in dubbing the main aim is for the text to be synchronized with the lips, namely there should be synchronization with the mouth movements made by the screen performer (lip syncing), but also with the original performance on the screen, making the construction of the text an essential point in dubbing. 

It is therefore not surprising that much of the initial research into dubbing in the late 1980s predominantly emphasized media constraints in dubbing, particularly synchronization (e.g. lip-synchronization). Indeed, as emphasized by Chaume, synchronization ‘is one of the key factors’ in dubbing (2012: 66); in its broadest sense, it is understood as the process of ‘matching the target language translation and the articulatory and mouth movements of the screen actors and actresses, and ensuring that the utterances and pauses in the translation match those of the source text’ (Chaume 2012: 68). Lip syncing should be one of the most important targets when it comes to dubbing. Nevertheless, we would stress, as already noted, that matching the lips movements should not be the sole target in the dubbing process. A complete and high standard dubbing procedure should, primarily, take into consideration and aim to match the whole performance of the screen actress/actor.

7. ACTING QUALITIES REQUIRED

Trainers can list the acting skills which are important in dubbing, they can be found on subchapter 3.1.2 of the Director Curriculum. 

See Dubbing Skills.

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ACTING QUALITIES REQUIRED FOR DUBBING Vocal Skill: Voice actresses/actors must possess exceptional vocal abilities, including the ability to modulate tone, range, and sound to match the original cast’s voice. Their voice should evoke the same emotions and moods as the original performance. Emotional Availability: Voice actresses/actors need to be emotionally available to convey the depth and authenticity of the character’s emotions through their voice. They must understand and connect with the character’s feelings and motivations. Adaptability: Dubbing requires adaptability as voice actresses/actors need to synchronize their performance with the on-screen actions and emotions of the original actor. They must match the tempo, rhythm, and duration of each line accurately. Impeccable Technique: Technical precision is crucial in dubbing. Voice actresses/actors need to maintain lip-syncing with the on-screen performance while delivering a flawless performance. Artistic Match: The voice actress/actor should not only sound similar to the original cast but also bring their own artistic interpretation to the character, making the performance unique and expressive. Training and Experience: Voice actresses/actors must undergo rigorous training and gain experience to perfect their craft. Dubbing requires skilled professionals who can deliver high-quality performances. Collaboration: Voice actresses/actors should be able to work collaboratively with the director to understand the emotional development of their characters and ensure a unified performance across all characters. Adaptation and Originality: While drawing from the original performance, voice actresses/actors should also bring their creativity to create a new original performance that matches the emotional nuances of the dubbed character. Rehearsal and Preparation: Preparation and rehearsals are crucial before recording each line to ensure a seamless and convincing performance. Harmonization: Directors play a vital role in guiding voice actresses/actors and bringing harmony to their performances. They must coordinate and unify individual performances to create a cohesive dubbed version. In conclusion, successful dubbing requires voice actresses/actors to be skilled, emotionally connected, adaptable, and collaborative artists who can create a performance that matches and supports the original on-screen performance.

8. EQUIPMENT AND DUB-IN APP

To finish this session, trainers only need to introduce the equipment, basically the microphone and the recording programme/ Dub-in APP to practice.