What is the acting of voice actors that Sayaka Senbongi, Yumiri Hanamori, and Sumire Uesaka think?

Spread the love

The TV anime “Kageki Shojo !!”, which is being broadcast from July, is based on the comic by Kumiko Saiki, which is serialized in Hakusensha’s “Melody. ” A spoken story woven by opera girls will be unfolded on the stage of the “Red Flower Opera Music School,” which develops human resources for the “Red Flower Opera Company” consisting of only unmarried women. Sayaka Senbongi played the main character of this work, Sarasa Watanabe, Yumiri Hanamori who played Ai Narada, Sumire Uesaka who played Sawa Sugimoto, which is unique to animation that is conscious of playing the character as a voice actor. I heard the episode during dubbing. Characters express their feelings on the stage, and voice actors representing the characters by acting voice. Let’s approach the voice actor’s approach as an actor.

“This was correct in this scene of this work, but it doesn’t last a lifetime.”

Sending: It’s a complicated question, but what I’m careful about is imagination. If it is a live-action film, for example, by shooting on location, the place itself, such as a school or gymnasium, exists there, and you can make a pseudo set on the stage. In the case of a voice actor, I play in front of the microphone in the absence of such an existence, so I think that imagination becomes very important. 

There are indeed many cases where the animation image is incomplete at the time of dubbing. Sending: The part that can express the picture unique to animation is different from the live-action and stage, so the sense of distance and atmosphere that the characters face each other in the animation (even if it is an unfinished image) It is essential to firmly imagine and feel where the feeling you are playing is now. Hanamori: In our work, we play with our own body (voice), but that character plays in the anime, so in that sense, we have two bodies. Some of the works take an approach of how much you can get into the position and how much you can put the character into yourself, while others make the play with pictures, so I wonder how you can make the viewer look more attractive. In some cases, even if you make too much with only voice, you will end up with a voice that is not crazy, and I have the consciousness that the ratio or multiplication is changed according to work. In the case of a dubbing site, sometimes I make the picture while thinking about the direction in which I want to play it, and sometimes I leave the play to me and match the image later. 

It depends on the work and how you make it. Hanamori: When I was entrusted with the play, I wondered if this child was such a child, digging deeper into the impression and thinking about making the voice more critical. On the contrary, when the character is well-made, and there is an order to make a voice that makes this child look attractive, how much voice can you put your dreams on? I think about it. It’s not just a simple reality, so it depends on the work and character. I’m still struggling, wondering if it’s a series of such multiplications.

It seems that it will change depending on whether the animation image is made or not completed. Hanamori: Sometimes, when I see the finished video, I think, “This was my acting!”, And I’ve been thinking about it for a long time. Of course, I feel like I’m always thinking about what’s best, not just about myself, but looking at the whole thing objectively. 

How about Mr. Uesaka? Uesaka: What I found interesting when I became a voice actor was that, for example, even if I was told that I was a 15-year-old character, there were various 15-year-olds. Some 15-year-olds have a heart that is as close to an adult as possible, and some have a slightly young mentality that speaks with the ending “!”. As Mr. Senbongi and Mr. Hanamori said, don’t put them in one pattern, understand that the character is “what kind of child is it? How do you talk?” If I can know what I have, I wonder if it will be performed naturally without trying to make it. 

What would you do if you were asked for a different acting plan in the direction? Uesaka: Of course, there are times like that, but I think that’s not a bad thing. It’s a world where there is no correct answer. This was correct in this scene of this work, but isn’t it going to last a lifetime? For the time being, I will assemble it myself, but it will be fun if I keep in mind that the plan will change drastically at the site. I thought that the interaction would be fresher. Also, I think it’s a pretty impersonator. If Mr. Sugimoto of “Kageki Shojo !!”, he would try to read the script with the correct posture. When I’m playing an older sister character, I try to learn a little to look like a good woman (laughs). (Uesaka, expressing the angle of a woman who can lean)

It is essential to keep thinking about such things. Uesaka: Some types like me come from the shape, and there are various ways of thinking depending on the person, so I believe that each question has a different answer.

“If you don’t understand the character of the other person, you won’t know where you are standing.”What kind of site was it? Hanamori: It was a form that you could record with Bon-chan (Senbongi), who played the role of Sarasa as much as possible, but everyone recorded it separately. Sending: That’s right. I couldn’t register with the teachers (at school), so it was a very imaginative site. 

It means that it was recorded with a small number of people in the current situation. Hanamori: The way it was made changed a lot depending on the case, and it was work that I recorded while I was groping for it. That’s why I asked many times, “How much distance do you like?”, And with the help of the sound directors and directors, I proceeded. Even so, at the time of our recording, it was performed with Mr. Sugimoto’s voice in it, so it was a site where we could make it without worrying so much as a side to make it according to it. 

You recorded each episode in turn, and after seeing the combination of the performances, you recorded the following number of attacks in order. Hanamori: In that sense, I thought that if I didn’t understand not only my character but also the character of the other person (speaking), I wouldn’t know where I was standing. On the contrary, Mr. Sugimoto and his colleagues, who are being called out in a state of zero with nothing, may have been troubled in a state of lack of chintz and love. How was it? Uesaka: Mr. Sugimoto, Mr. Hoshino, and Mr. Yamada often recorded together, but it took time to think about what the first one would look like. However, as I played a few episodes, I realized that it would come like this. 

The land of the role of Kaoru Hoshino How was the acting of Ms. Ha and Ms. Rico Sasaki as Yamada (Ayako)? Uesaka: I thought that the balance of the three people was exquisite, and every one was different. Yamada-san also loves it so much, but it’s a performance that makes you want to rub your back because you don’t have to work so hard. 

The play by Mr. Taichi, who expresses Mr. Hoshino, who is as sharp as that glass but fragile, is irresistible. Hanamori: The three have different styles, but they are fighting the pressure, aren’t they? Uesaka: That’s right. 

There is pressure from the surroundings. Sending: I would say that Mr. Sugimoto is taking the lead and making great efforts, and although his grades are good, he feels regretful about something he doesn’t understand, so I want to support him. Rice field. I felt that what I had done strengthened me, and I had to believe in it. Uesaka: Indeed, Mr. Sugimoto often loses because of his seriousness, so I want to support him in that kind of place. 

Hanamori: Many of the 100th generation children have a strong self, but Yamada-chan, who continues to wonder what she is, has a lot of overlap as a viewer. I’m wondering if there is one. Even though I have good talent, I’m worried about what my teacher told me because I couldn’t recognize myself, and I suffered from weight gain appropriate for my age. It’s a story about a play, but I also have a part that overlaps with Yamada-chan, who is full of the dangers of such a girl. 

The teachers and the 100th generation children around me are aware of her strengths and tell her, so in that sense, I think I’ll always look at her from the perspective of wanting to support her.

Leave a Reply