The work of the speech-language pathologist, Marly Brito, as Dramaturgy Instructor in the TV series of Maria Adelaide Amaral and Dennis Carvalho, DALVA E HERIVELTO, UMA CANÇÃO DE AMOR, was focused on interpretation of the songs sung by the actors in the performances. More specifically the LIPSYNC training during the rehearsals and follow-up of the recording in studio or outdoor.
Some of the actors, such as Fábio Assunção (Herivelto Martins), Maurício Xavier (Nilo Chagas), Fernando Eiras (Francisco Alves), Thiago Fragoso (Pery Ribeiro), Soraia Ravenle (Emilinha Borba), Claudia Netto (Linda Batista) and Pablo Bellini (Rick Valdez), recorded in the studio with their own voices to then dub them during scenes. Adriana Esteves dubbed Dalva de Oliveira songs as well as Rita Elmor who played Marlene and Eduardo Moreno, as Orlando Silva.
The Lip Sync technique was exactly the reverse process of dubbing, traditionally used in movies. That is, while the actor lends his voice to the sequences of images and has the exact dimension of emotion required, in the Lip Sync we have the voice as the main element. The actor not only interprets what he is hearing through his gestures, but he also needs to move his lips in exact sync with what is said or sung. The style needs to be respected, as well as the expressions and accents of the original vocal recording. Note that the fact of working over their own pre-recorded voice may require from the actors the same synchrony training. In addition to the need to reproduce the same emotion put in studio, the songs enhance features from another decade.
The pronunciation of phonemes, typical of Dalva de Oliveira accent, also required decoupage of the lyrics. They gained codes and signals for Adriana to register all markings not only aurally, but also visually. Thus, the technique does not involve only a phoneme, pronunciation and song research. The observation on the breath, including interpretation breaks and taking of air, as well as the sonorous and buccal shape during the utterance of the voice in the songs, which were crucial for the recorded sound does not conflict with the buccal shape of the actors
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