From the Edge Studio electronic newsletter – 4 Tips to Chose an Animated Character Voice (in the Booth). They specifically reference auditioning in a studio somewhere, but these tips can be used any time you want to create a Character Voice – for an audition, for practice or for a job! These tips might be helpful as you work on the assignment for this week. (Speaking of which, refer to the last post and you will see that it says to “record” the script for playback.)
Here is an edited version of today’s article – read the whole thing online…look for archived articles and select Animation.
Think fast!! Who are you??
When you’re auditioning on-site for a cartoon or other character-voice job, before entering the booth you’ll probably have at least a few minutes to think about who you’ll portray. But maybe not long. And at the mic, often the director will challenge you to come up with a character on the spur of the moment.
So, who are you?
In today’s article, we’ll get you thinking about:
- Which voices and mannerisms are you good at?
- Which ones are appropriate to the requested character?
- How can you distinguish yourself from the rest of the pack?
Being prepared will help you immensely at showing your creativity and “quick” thinking.
Think outside the voice box.
Consider, for example, you’re asked to portray a mouse. (Remember, you’re not being asked to do a mouse. You’re asked to BE a mouse.)
When quickly calling up a mouse voice, most people choose the obvious — a high falsetto (maybe even lapsing dangerously into Mickey Mouse). But is falsetto your thing? Or will it simply bore your client as you sound “like everyone else”? Or maybe it’s not working 100% today.
(Read more online!)
What is the character’s character?
Don’t stop with just the character’s physical nature. Think about their personality.
The wolf might happen to have your own voice — but with an eccentric personality. Maybe he can’t even say his own name without lapsing into wolfiness: “I’m the Big Bad Woof… Woof….Wo-o-o-l-l-l-f” (which becomes a howl). You’ll need to stick to the script, but find things you can adapt.
(Read more online!)
Get physical.
How you hold yourself, your head, your face, your body, all affects your sound and delivery.
You’re a matronly elephant? Hunch over, flap your ears and swing your trunk. You’re a male lion? Stand tall and hold your head high (if you’re that’s the kind you are). Frog? Well that depends on if you’re a bullfrog or a peeper. Behave accordingly. Emphasize the percussive, peepy plosives? Pull your cheeks out? Become round and heavy?
(Read more online!)
Expand your thinking:
You should have a “stock company” of characters. In the process of developing them, also keep a mental list of what characteristics each of them has. Then you can apply these characteristics to other characters.
For example: You’re asked to be a porpoise. Your stock characters are a mouse, a wolf, a monkey and a baby. Which characteristics of THIS porpoise are closest to one of those? And then what is unique about a porpoise? Bingo… you’re a monkey with squeaks, or bubbles. Can’t do squeaks? Do chatters or clicks. So much the better: monkeys chatter, too, so you might be able to use that. Maybe you’re also always swimming gracefully.
Or maybe porpoise-speak sounds a lot like baby-talk. Become skilled at developing and “re-porpoising” them on the fly. (read more online!)
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