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Philosophy and Culture
Reference:
Shumov M.V., Pavlov A.Y.
Maria Vinogradova's creative range in the context of voicing Soviet cartoons. To the 100th anniversary of the "Queen of the Episode"
// Philosophy and Culture.
2023. № 5.
P. 191-205.
DOI: 10.7256/2454-0757.2023.5.40697 EDN: BPHKHB URL: https://en.nbpublish.com/library_read_article.php?id=40697
Maria Vinogradova's creative range in the context of voicing Soviet cartoons. To the 100th anniversary of the "Queen of the Episode"
Shumov Maksim Vladimirovich
Associate Professor, Department of Directing and Choreography, Dostoevsky Omsk State University
644043, Russia, Omsk region, Omsk, Krasny Put str., 36
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mvshumov@mail.ru
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Other publications by this author |
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Pavlov Andrey YUrievich
Associate Professor, Department of Directing and Choreography, Dostoevsky Omsk State University
644043, Russia, Omsk region, Omsk, Krasny Put str., 36
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a.u.pavlov62@mail.ru
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DOI: 10.7256/2454-0757.2023.5.40697
EDN: BPHKHB
Received:
09-05-2023
Published:
06-06-2023
Abstract:
The authors designated speech culture as the object of this article. The subject of the study is the creative potential of the Honored Artist of the RSFSR Maria Vinogradova in the context of voicing Soviet cartoons. The authors set a goal to identify the range of the potential of speech capabilities in voicing cartoon characters. The methodological basis of the article is content analysis, comparative, statistical, historical and cultural analysis of Soviet animated works, as well as their characters voiced by Maria Vinogradova. The authors, when considering the problem, achieve the following results: from 1954 to 1995, Maria Sergeevna took part in the dubbing of 213 Soviet cartoons. The most fruitful years for the actress in terms of voice acting were 1976 – 15 works; 1975, 1984 - 12 works; 1973 – 11 works; 1974 – 10 works. For 40 years, the actress has voiced 109 animals, 87 boys, 22 girls, 14 indeterminate characters and 9 inanimate objects. In the process of developing the problem, the authors identify categories of voiced characters (boy characters, girl characters, animal characters, object characters, indeterminate characters) and analyze the actress' creativity for the characters she voices belonging to these categorical elements. The novelty of the research lies in the unconventionality of the indicated approach, as well as in the complex analysis of the palette of Maria Vinogradova's speech capabilities. As a result of the study , the authors come to the following conclusions: 1) The high creative rise of the actress was formed in the 1970s - 91 Soviet cartoons were voiced in this decade, which is 42% of the total number of voiced cartoons. 2) The acting role of Maria Sergeevna's travesty confirms the first place in the number of voiced male characters - children and animals. 3) In 15 cartoons, Maria voiced several characters, and in 2 – all the characters, which indicates a wide speech range of the actress.
Keywords:
culture of speech, stage speech, Soviet cartoons, dubbing cartoons, Maria Vinogradova, travesty, speech technique, speaker, cartoon characters, actor's speech palette
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Some aspects of the culture of speech and film scoring. Introduction Over the past decades, the image of the Russian literary language has transformed quite a lot. Changes have occurred in its forms such as the language of fiction, journalism, mass media, cinema, theater. Speaking about the works of cinema, along with speech in the mass media, a modern public mood is largely created, mass consciousness, modern speech culture and attitude to speech itself are formed. It often happens that speech in cinematic works also has a great influence on the formation of "linguistic" taste and linguistic ideal. Speaking about the problem of studying the culture of speech, it should be recalled that "linguists and literary publicists V.I. Chernyshev, V.G. Belinsky, L.V. Shcherba, S.I. Ozhegov, G.O. Vinokur, S.P. Obnorsky, V.V. Vinogradov and many others made a significant contribution to the study of speech culture. It should be noted a serious contribution to the development of the culture of speech, more precisely the art of speech, theater artists and specialists in stage speech, who developed the methodology of teaching stage speech. These are the works of K.S. Stanislavsky, M.A. Chekhov, M.O. Knebel, M.M. Mikhoels, I.P. Kozlyaninova, A.P. Petrova, Z.V. Savkova, E.M. Chareli, I.Y. Promptova and others. Thanks to the theoretical and practical works of the above-mentioned figures of science and literature, culture and art during the XX century, the foundations of culture and speech techniques in the field of cinema and television were formed and continue to develop at the present stage (M.G. Bezyaeva, B.D. Gaimakova, M.P. Ossovskaya, V.I. Novikov, S.K. Makarova, L.I. Vansovskaya, O.A. Lapteva, etc.) and systematic methods of teaching stage speech, culture and speech techniques (M.P. Petrova, I.Y. Promptova, L.D. Alferova, V.N. Galendeev, S.P. Serova, I.A. Avtushenko, V.P. Kamyshnikova, etc.)" [1]. A.S. Kuzin in his article "Speech sounding from the stage (director's view of acting problems)" notes: "There is no such professionally wealthy director, at least in the Russian art space, who would not attach importance to this very quality of speech sounding from the stage. Moreover, this meaning is not proclaimed, not declared, but is present in real practice, which can be observed in stage works" [2]. In Vasily Shukshin's film "Stove-benches", a professor-folklorist speaks about the Russian word: "The people are rich (approx. authors: Russian). He keeps his goods for centuries, but gives them away for free. Nate!". At the same time, he calls the entire language culture he collected "a pood of gold." At the same time, there were "artists of the sounding word" in our cultural space. Each national language has its own phonetic, architectonic and rhythmic features. "The chant of Russian speech, its breadth and multicolour, dynamics and softness, its emotionality are well known. Russian Russian language's inestimable virtues have been captured by great Russian readers and actors. Recordings of brilliant artists of sound and words have survived to this day: F. Chaliapin, V. Sobinov, V. Kachalov, V. Yakhontov and others. The sound of the voice, the sound, emotional and semantic interpretation of the performed literary or musical work, every word, every sung or spoken phrase captured on film, made these recordings immortal works of art" [3, p. 46]. The sound series of the film contains many elements: various, quite real and artificially created noises, fragments of music, pauses and rhythmic counterpoints, etc. "If we assume that certain combinations of these elements are perceived, at least relatively, as a kind of sign system, as a sound effect, the emotional significance of which for the perceiver can be predicted and, accordingly, to fix it, then the speech of the artist, probably, can be perceived as a certain symbol, a sign within the system. That is, the artist's speech in the sound-sign matter of the film is semiotic, since it has many additional meanings and meanings" [4]. Yadong Yu in his article notes: "Speech in the cinema involves certain technological nuances. But this is not another speech, this is a different perspective of a single phenomenon, which can be called "speech creativity of an actor" [5]. "Children love cartoons, as their favorite toys and characters come to life on the screen, who speak a language that is understandable to children. To be closer to the child, to get on the same level with him, the voicing of cartoons is carried out using the "children's voice" [6]. The plot of the cartoon is constructed in such a way as not only to be intriguing, but also to touch on problems relevant to children. A person voicing cartoons should not only be an announcer – translator of sound, he should be an actor. Any cartoon character has its own character, mood, style. All these qualities characterize his unique voice, manner of performance, speech features. It is unlikely that a simple announcer will cope with this. The actor, having really studied his cartoon character, fully gets used to this role, feels it and holds it until the very end. One of such talents is the Honored Artist of the RSFSR Maria Sergeevna Vinogradova. "Actor's portrait" by Maria Vinogradova. Review At the time of writing, it is exactly 100 years since the birth of the actress, Honored Artist of the RSFSR Maria Vinogradova. If you try to remember the films with her participation, then not immediately, gradually small episodes from the films "Office Romance", "Garage", "Interdevochka", "Draw", "The Master and Margarita", "The Magic voice of Gelsomino", "Kalina Krasnaya", "From the life of vacationers" will come to mind". Meanwhile, Maria Sergeevna was one of the most sought-after Soviet actresses, but she always remained in the shadows. As a consequence, she was often called the "queen", but only the "queen of the episode". Maria Vinogradova has played in more than 130 films, but viewers are unlikely to remember her heroines in these films. Eldar Ryazanov and Vasily Shukshin loved to shoot her, but at the same time her huge acting potential was not even half used.
The situation is different with the voice-over roles. Audrey Hepburn, Gina Lollobrigida, Suzanne York, Elizabeth Taylor, Pedro Alvarez, Sandra Chavez and many others spoke in the unique voice of Maria Sergeevna in the Soviet dubbing. At the same time, it is quite easy to recall the voices of Soviet cartoon characters – Uncle Fyodor from Prostokvashino, a Ball from A Kitten named Woof, a pioneer from Cheburashka, a cat from The Magic Ring, as well as Mowgli, Dunno and a Tin Soldier. Several hundred well-known and not very Soviet and foreign cartoons succumbed to the talent of Maria Vinogradova's voice acting. The most difficult and the most important role in voicing, she herself considered "Hedgehog in the fog" by Yuri Norstein. To find the right intonation, she spent a lot of time, but then at creative evenings she introduced herself: "Hello, says the Hedgehog in the fog!" The creator of the cartoon Yuri Norstein said about Vinogradova: "An amazing actress-episodist, and could play a big dramatic role! She portrayed cleaners, supervisors, grandmothers not on her scale" [7]. People's Artist of the RSFSR Sergey Nikonenko recalls Maria like this: "Together with Musya, we were filmed together more than once, and I shot her in my paintings "Tryn-grass" and "Dawn Kissing". It's a pity that in the theater, as a travesty, she was offered to portray boys and animals. Her neighbor Nadia Rumyantseva was of the same build, but played the main roles in the same "Girls". The fly was less fortunate in this regard. Sorry. She is an extraordinarily kind person, an intelligent and caring, warm-hearted woman" [8]. Vinogradova's colleague, actress Lydia Smirnova, said about her: "Maria Sergeevna, Musya, the Fly... How we loved her! It's not a person, it's a whirlwind, a temperament. Everything was boiling in her, she was always rushing somewhere: filming, concerts. At rehearsals, I don't remember her standing or sitting, she was on the move all the time. How well the nickname Fly stuck to her! She decorated any passing episode with her talent, because she fantasized a lot and brought it from herself. And, like no one else, she knew how to be friends. There wasn't a person in the theater who didn't love her. Maria Sergeevna was not beautiful, but she had so much charm that she seemed beautiful" [9]. For 40 years, Musya Vinogradova was the mascot of Soviet animators. A unique recognizable voice was an integral part of her acting profession. It was he who helped her feel needed even in the most difficult times. So there was a period when she did not work in the theater, but worked only on voice acting. It was the so-called transitional age period when she was not in demand. And then she dubbed films and cartoons for 15 years. In each new project, the actress was required to demonstrate a whole range of feelings in just a few phrases, and all this had to not resemble her previous works in any way. Dubbing of Soviet cartoons by Maria Vinogradova. Study Please note that in our study we will be interested only in the dubbing of Soviet cartoons. Maria Sergeevna's acting works, as well as dubbing of foreign films and cartoons are not considered in the context of this study. If Maria Sergeevna voiced several characters of the selected category in the cartoon, they will be indicated through the "/" icon. If characters of different categories were voiced in the cartoon, then the same cartoon will be listed in different categorical tables. We have selected the following as the categories of voice-over characters in the study: 1) Characters-boys (male characters) 2) Girl characters (female characters) 3) Animal characters (the gender of the animals is not defined) 4) Characters-objects (inanimate objects whose gender is not determined) 5) Indeterminate characters (characters are not defined or their gender is not known) Let's analyze the entire period of creativity associated with the dubbing of Soviet cartoons by Maria Sergeevna (from 1954 to 1995) in the above categories and draw some conclusions. Table 1. Maria Vinogradova's voice-over roles in cartoons. Category "Boy characters" Year | The name of the cartoon | The role of voice acting | 1954 | Moidodyr |
Boy | 1954 | The arrow flies away into a fairy tale | Vova Galkin | 1954 | Snowman-mailer | Boy | 1958 | Sportland | Mitya | 1958 | Golden ears | Janka | 1959 | Pinocchio's Adventure | Boy | 1960 | Murzilka on the satellite | Boy |
1960 | Cog and Shpuntik — funny masters | Dunno/ Znayka/ Donut/ Syrupchik | 1961 | Dunno is learning | Dunno/ Neighbors | 1961 | Who is the strongest? | Nyakochi | 1963 | Barankin, be a man! | Kostya Malinin | 1963 | Three fat men | Tutti | 1964 | Firefly No. 5 | Volodya | 1964 | Alyosha 's fairy tales |
Alyosha | 1965 | Adventures of the Comma and Dot | Point | 1965 | Hot Stone | Ivashka | 1965 | Where did I see him? | Gurvinek | 1968 | Mowgli | Mowgli | 1968 | The kid and Carlson | The boy-brawler / The Owner of the puppy | 1969 | In the land of unlearned lessons | Victor Perestukin |
1969 | Santa Claus and summer | Boy | 1969 | Ten years later | Boy | 1970 | The Canterville Ghost | The son of an American | 1970 | Stories of an old sailor. An extraordinary journey | Kirill | 1970 | The past is a tall tale | Boy | 1970 | Merry-go-round # 2. The very first | Lazy Pioneer | 1970 |
My friend Martin | Boy | 1971 | Cheburashka | Pioneer | 1971-1973 | The adventures of Dunno and his friends | Dunno | 1972 | And who is the wizard?! | Bully Boy | 1972 | Kolya, Olya and Archimedes | Kolya | 1973 | Aurora | A boy in a cap | 1973 | Cornflower |
Red-haired boy | 1973 | Ratibor 's childhood | Ratibor | 1973 | Who pushed me? | Boy | 1973 | The invisible hat | Timka is a sluggard | 1974 | Tooth (Wick No. 141) | Boy | 1974 | The Wizard of Oz | Tim | 1974 | Mysterious planet | Boy |
1974 | Peredelkin at school | Peredelkin | 1974 | Tolik and Tobik | Tolik | 1974 | There was a tram number ten (the short story "The Horseman") | Boy | 1975 | Black Chicken | Alyosha (part of the replicas) | 1975 | Visiting the dwarves | Little man / Red-haired boy-geologist | 1975 | And Mom will forgive me | Boy | 1975 | The Hunchback Horse |
Ivan | 1975 | Our nanny | Petya | 1976 | Mirror of Time | Boy | 1976 | The legend of the old lighthouse | Boy | 1976 | Ognik | Boy | 1976 | The Persistent Tin Soldier | The Tin Soldier | 1976 | Be healthy, green forest! | Boy |
1976 | Brave horsemen | The older boy | 1977 | The last petal | Vitya | 1977 | The secret of the baked cricket | Little Mozart | 1978 | Our Friend Pishichitai (issue 1) | Kolya | 1978 | Three from Prostokvashino | Dedya Fyodor | 1978 | Miracles in broad daylight | Vitya | 1979 | On a visit |
Kostya | 1979 | Vovka-coach | Burygin | 1979 | The Magic Ring | Ivan's mother | 1979 | Yellow Elephant | Boy | 1979 | Our Friend Pishichitai (issue 2) | Kolya | 1979 | The Last Wizards | Boy/ Announcer | 1980 | Navigation of the Sun | Solnyshkin |
1980 | Holidays in Prostokvashino | Uncle Fyodor | 1980 | Our friend Pishichitai | Kolya | 1980 | Seven brothers | Red Pencil / Yellow Pencil | 1981 | In a dim kingdom, in a gray state | Green pencil | 1982 | Magic Medicine | Valera | 1984 | Winter in Prostokvashino | Uncle Fyodor | 1984 | Who is stronger? |
Bully | 1984 | The Magic Shovel | Vasya | 1984 | Moose calf | Boy | 1985 | Two tickets to India | Dima | 1985 | Grandfather 's pipe | Boy | 1986 | Grandma's lesson | Petya | 1988 | Laughter and grief by the White Sea | Ivan's mother |
1994 | Dreamers from the village of Ugory | Antoshka | So, as can be seen from Table 1, as well as based on the period specified in the analysis conditions (from 1954 to 1995) and having identified those works in which the category "boy characters" is declared, we found that out of 41 years of dubbing, 40 years accounted for the dubbing of boys. The exception was 1995, the year of the actress' death. Over 40 years, 87 boys and male characters have been voiced in 79 cartoons. At the same time, she voiced several characters in 7 cartoons at the same time. Table 2. Maria Vinogradova's voice-over roles in cartoons. Category "Girl characters" Year | The name of the cartoon | The role of voice acting | 1956 | Wonderful well | Sloth | 1957 (1982) | The Snow Queen | The little robber | 1958 | The beauty of the beloved | Marya | 1959 | The legend of the Moor's Will | Markita |
1961 | Big trouble | Girl | 1966 | About the evil stepmother | Volumes | 1967 | The train from Romashkov | Passenger | 1968 | Firefly No. 8 | The beggar boy's mother | 1969 | A sunny seed | The old lady | 1972 | Exhibit (Wick No. 121) | Grandma | 1973 |
New big troubles | Girl | 1975 | The legacy of the wizard Bahram | Masha | 1984 | The Tale of Tsar Saltan | Cook | 1985 | Grandfather 's pipe | Mother | 1986 | How the grandfather went for the rain | Grandma | 1986 | Memory | Grandmother | 1987 | As in a fairy tale (Wick No. 305) | Grandmother |
1988 | Evil spirits (Wick No. 315) | Baba Yaga | 1989 | Two heroes | Baba Yaga | 1991 | The Little Witch | Grandmother | 1991 | Guest | The old woman | 1995 | Merry-go-round No. 29. The tale of the fool Volodya | Daughter of the UN Secretary General | As can be seen from Table 2 - out of 41 years of dubbing, 22 years are spent on dubbing in the category of "girl characters" (and female characters). During this time, 22 female characters were voiced in 22 cartoons. At the same time, in 12 projects, age–related characters are seen in the voice-over roles - an old woman (grandmother), baba yaga, mom, cook. Table 3. Maria Vinogradova's voice-over roles in cartoons. Category "Animal characters" Year | The name of the cartoon |
The role of voice acting | 1954 | In the forest thicket | Badger | 1954 | Straw bull | Hare | 1956 | Forest history | Hare | 1958 | We're going for the sun | Duck | 1958 | Cat's House | Cock/ Piglets | 1961 | The braggart Ant | Ant |
1963 | Piggy bank | Mouse | 1963 | Jokes | Duckling | 1963 | I want to be brave | Teddy bear | 1965 | Whose cones are in the forest? | The Frog | 1965 | Rikki-Tikki-Tavi | Darzi Bird | 1965 | Firefly No. 5 | Ant/ The Frog | 1965 |
The frog is a traveler | Frog | 1966 | The bear cub and the one who lives in the river | Hare | 1967 | A song in the forest | Hedgehog | 1967 | One-two, together! | Ant | 1967 | The Tale of the Golden Cockerel | Golden Cockerel | 1967 | Four from the same yard | Baby goat | 1967 |
How to Become Big | Granny-cat / Baby Beaver / Bear Cub | 1967 | What a Ginger! | Bobik | 1968 | White skin | Cat / Mouse | 1968 | Careful, pike! | Little Beaver | 1968 | Firefly No. 8 | Bobik / Bear Cub | 1968 | Chunya | Hare | 1969 |
A sunny seed | Seahorse | 1970 | Beavers are on the trail | Little Beaver | 1970 | Monkey from Sarugashima Island | Dolphin | 1970 | Adventures of Cucumber | Puppy / Hare | 1970 | Stories of an old sailor. An extraordinary journey | Bobik | 1970 | Small misunderstandings | Black Kitten | 1971 | Stories of an old sailor. Uninhabited island |
Bobik | 1971 | Terem-teremok | Hare | 1972 | Homeless Kongurja | Hare | 1972 | Friendship apart | Puppy Snowball | 1972 | Where are you going, Vitar? | Starling | 1972 | Take your time | Teddy bear | 1972 | Merry-go-round No. 4. About the eccentric frog |
The Frog | 1972 | Stories of an old sailor. Antarctica | Bobik the Dog | 1973 | Like a cat with a dog | Puppy | 1973 | The beetle is a crooked hill | Ant | 1974 | How the goat kept the earth | Goat | 1974 | Bim, Bam, Bom and the wolf | Piglet | 1974 | The hare Koska and the spring | Hare |
1974 | Baby Raccoon | A monkey | 1975 | Hedgehog in the fog | Hedgehog | 1975 | On a forest trail | Fox | 1975 | About a spider that no one was friends with | Spider | 1975 | The Fables of S. Mikhalkov (novella "The Rooster is visiting") | Baby goat | 1975 | How did the little camel and the donkey go to school | Camel |
1975 | The Magic Pouch | Teddy bear | 1976 | Hare, Creak and Violin | Hare | 1976 | Ognik | Foal / Gopher | 1976 | Simply so | Puppy | 1976 | Tari Bird | Heron | 1976 | Sambo | A monkey | 1976 |
Real friends | Mouse | 1976 | A kitten named Woof (issue 1) | Puppy | 1976 | The hare got a tape recorder | Hare | 1976 | Be healthy, green forest! | Ant | 1977 | A kitten named Woof (issue 2) | Puppy | 1977 | A real bear cub | Teddy bear | 1977 |
Piglet | Badger | 1978 | Trailer | Magpie | 1978 | Santa Claus and the Gray Wolf | Hare | 1978 | Trouble | Crow/ Hare | 1978 | Forest tales | Squirrel / Crow | 1978 | Sunny bunny | Hare | 1979 |
The Magic Ring | Cat | 1979 | A kitten named Woof (issue 3) | Puppy | 1979-1982 | Earwig and his friends | All characters | 1980 | Well, wait! (issue 13) | The Japanese Hare | 1980 | A kitten named Woof (issue 4) | Puppy | 1980 | The tale of Komar Komarovich | Bee | 1980 | A strange beast |
Tiger Cub | 1981 | He got caught! | Badger | 1981 | How are you, Brother Fox? | Fox Cub | 1982 | A sure remedy | Hare | 1982 | Grandfather's binoculars | Cat | 1982 | Cricket | Hare | 1982 | The Mystery of the Yellow Bush |
Fox Cub | 1982 | My friend umbrella | Hare | 1982 | A kitten named Woof (issue 5) | Puppy | 1982 | Why is the hare hiding | Hare | 1983 | Got caught biting! | Badger | 1983 | Good forest | Squirrel | 1983 | Flying Giraffe | Turtle |
1984 | How the puppy learned to swim | Pike | 1984 | Creme brulee | Jerboa | 1984 | The dream of a little donkey | Donkey | 1984 | Night Flower | Kitty | 1984 | Make-believe | Cat | 1984 | The baby elephant went to study | Mouse | 1984 |
Sinichkin calendar. Autumn | Hare | 1985 | Cockerel | Calf | 1985 | Petya the Cockerel has disappeared | Crow | 1986 | Valuable parcel | Crow | 1986 | About a behemoth named Well-and-let | Turtle | 1987 | Owl | Owl | 1987 |
The mystery of toys | All roles | 1987 | A puppy and an old slipper | Duck | 1987 | White grass | Sheep | 1988 | A lion and nine hyenas | Hyena-grandmother | 1988 | Laughter and grief by the White Sea | Cat | 1989 | Music store | Mushonok | 1989 | A sparrow was walking along the path |
Sparrow | 1990 | Winged, shaggy and oily | Fox | 1992 | Monkey and Turtle | A monkey | 1993 | Gingerbread | Jackdaw | 1994 | Dreamers from the village of Ugory | Goose | As can be seen from Table 3 - out of 41 years of voicing, 34 years are spent on voicing in the category "animal characters". During this period, 109 characters were voiced in 119 cartoons. At the same time, in 12 cartoons, Maria voiced several animals, including 2 cartoons where Maria Sergeevna voiced all the characters. Of the entire palette of animal characters, 19 hares, 14 puppies, 8 cats managed to be voiced the most. Table 4. Maria Vinogradova's voice-over roles in cartoons. Category "Characters-objects" Year | The name of the cartoon | The role of voice acting | 1965 |
Adventures of the Comma and Dot | Point | 1969 | A sunny seed | Sink | 1974 | Mysterious planet | The starship Fedya | 1978 | Trouble | Kolobok | 1980 | Seven brothers | Red Pencil / Yellow Pencil | 1981 | In a dim kingdom, in a gray state | Green pencil | 1987 | A puppy and an old slipper | Slipper |
1986 | How the grandfather went for the rain | Lightning | As can be seen from Table 4 - out of 41 years of voicing – 8 years are spent on voicing in the category "characters-objects". During this period, 9 characters were voiced in 8 cartoons. Table 5. Maria Vinogradova's voice-over roles in cartoons. Category "Undefined characters" Year | The name of the cartoon | The role of voice acting | 1956 | Heavenly creature | ? (not defined) | 1929 | Mail | Author's text | 1969 | Greedy Kuzya | Author's text | 1973 | Merry-go-round No. 5. Who grazes in the meadow? | ? (undefined) | 1973 |
Thanks | Author's text | 1973 | Merry-go-round No. 5. Miracle | Author's text | 1975 | And Mom will forgive me | Voice-over | 1976 | The fairy tale of Grandpa Ai-Po | Children | 1976 | Morning song | ? (undefined) | 1978 | White camel | ? (undefined) | 1978 | Magic Watermelon | ? (not defined) |
1979- 1982 | Earwig and his friends | Author's text | 1981 | Once upon a time there was Saushkin | ? (not defined) | 1986 | The mouse and the red sun | ? (not defined) | As can be seen from Table 5 - out of 41 years of dubbing – 11 years are spent on dubbing in the category of "indeterminate characters". In this category, 7 projects with characters that do not belong to other categories were identified. In 7 projects, the role of Maria Vinogradova is not defined, although it is stated. The speech range of Maria Vinogradova. Conclusion of the study From 1954 to 1995, Maria Sergeevna took part in the dubbing of 213 Soviet cartoons. In this time range, it was only in 1962 that Maria did not take part in the dubbing of Soviet cartoons. For the remaining 40 years, Musya Vinogradova was the mascot of Soviet animators. The most fruitful years for the actress in terms of voice acting were 1976 – 15 works; 1975, 1984 - 12 works; 1973 – 11 works; 1974 – 10 works. In general, it is worth noting the 1970s (1970 – 1979) in the work of voicing Maria. During these years, 91 Soviet cartoons were voiced by her. These data indicate a high creative rise of the actress during this period. When conducting a study of 213 cartoons, the categories of roles that we have entered into the research condition are ranked as follows. In the first place in terms of the number of roles is the category "animal characters". In it, Maria Sergeevna voiced 109 characters in 119 cartoons. At the same time, in 12 cartoons, Maria voiced several animals, including 2 cartoons where Maria Sergeevna voiced all the characters. Of the entire palette of animal characters, 19 hares, 14 puppies, 8 cats managed to be voiced the most. The most fruitful year in this category was 1976. This year, 9 animal characters were voiced. This is followed by the "boy characters" category. In it, in 79 cartoons, the actress voiced 87 characters-boys and male characters. At the same time, she voiced several characters in 7 cartoons at the same time. In 1974, 1976, 1979, 6 boy characters were voiced. Such a large number of male roles is not surprising for an actress. From a young age, she was assigned the role of travesty. In third place was the category "girl characters". In this category, 22 characters were voiced in 22 cartoons. At the same time, in 12 projects, age–related characters are seen in the voice-over roles - an old woman (grandmother), baba yaga, mom, cook. All these projects were located in the second half of the creative path of the actress. And only in the last work, published in the year of the actress' death, a girl character reappears. This is followed by the category of "Undefined characters". 7 projects with characters that do not belong to other categories have settled here. In 7 projects, the role of Maria Vinogradova is not defined, although it is stated. And in the last place was the category "characters-objects". There were 9 characters in 8 cartoons in it. Some cartoons have already been listed in other categories, as they feature several characters voiced by an actress. The results, figures and ranks we have obtained speak of nothing else than the great talent of the actress and a wide speech range. Actresses – deserved, but still not popular. However, it is not popular only in the documents and is completely unfair in our opinion. "The word "popular" in Latin popularis, i.e. popular, popularly known. This is a literal semantic translation. In our case, "people's" as the highest recognition in society" [10].
How can it not be a folk talent, whose characters, after many decades, delight not only new and new generations of children, but also their parents. Isn't this the comprehensive recognition in society?!
References
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The author presented his article "The creative range of Maria Vinogradova in the context of voicing Soviet cartoons" to the magazine "Philosophy and Culture". To mark the 100th anniversary of the "queen of the episode", in which a study of the work of the actress, who most vividly manifested herself in voicing animated characters, was conducted. The author proceeds in the study of this issue from the fact that, along with speech in the media, a modern public mood is largely created, mass consciousness, modern speech culture and attitude to speech itself are formed. Speech in cinematic works also has a great influence on the formation of linguistic taste and linguistic ideal. The relevance of the study is due to the 100th anniversary of the actress. The scientific novelty was made up of a review analysis of her activities as a voice actor. The purpose of the study is to analyze the work of Maria Sergeevna Vinogradova through the prism of analyzing her activities in voicing characters of Soviet cartoons. The methodological basis of the study was statistical and biographical analysis. The empirical base consists of samples of Soviet animation of the second half of the twentieth century. Having analyzed the scientific validity of the studied issues, the author notes a significant contribution to the study of speech culture, which was made by linguists and literary publicists (V.G. Belinsky, L.V. Shcherba, S.I. Ozhegov), a serious contribution to the development of speech culture, more precisely the art of speech, theater artists and specialists in stage speech (K.S. Stanislavsky, M.A. Chekhov, M.O. Knebel, M.M. Mikhoels). As the author states, at the present stage, the foundations of culture and speech techniques in the field of cinema and television have been formed and continue to develop, as well as a systematic methodology for teaching stage speech, culture and speech techniques. As the author notes, a person voicing cartoons should not be so much an announcer who knows speech techniques as an actor, since any cartoon character has its own character, mood, style. All these qualities characterize his unique voice, manner of performance, and speech characteristics. The actor, having really studied his cartoon character, fully gets used to this role, feels it and holds it until the very end. According to the author, Honored Artist of the RSFSR Maria Sergeevna Vinogradova is one of such talents. In his research, the author pays attention to the creative biography of the actress, analyzing her repertoire and noting the wide range of roles she plays. M.S. Vinogradova played more than 130 episodic roles in films by E. Ryazanov, V. Shukshin and other famous directors, her voice was spoken by famous foreign actors and characters of Soviet and foreign cartoons. Based on statistical data presented in tabular form, the author has analyzed the creative activity of the actress from 1954 to 1995, namely the dubbing of Soviet cartoon characters. The author selected the following as categories of voice-over characters in the study: boy characters (male characters), girl characters (female characters), animal characters (the sex of animals is not defined), object characters (inanimate objects whose gender is not defined), indeterminate characters (characters are not defined or their the gender is not known). Based on the results of the study, the author made the following conclusions. From 1954 to 1995, Maria Sergeevna took part in the dubbing of 213 Soviet cartoons, which the author ranks as follows: in the first place in terms of the number of roles was the category "animal characters", then in descending order "boy characters", "girl characters", "indeterminate characters", "subject characters". The results, figures and ranks obtained by the author were determined by him as an indicator of the talent of the actress and her wide speech range. In conclusion, the author presents a conclusion on the conducted research, which contains all the key provisions of the presented material. It seems that the author in his material touched upon relevant and interesting issues for modern socio-humanitarian knowledge, choosing a topic for analysis, consideration of which in scientific research discourse will entail certain changes in the established approaches and directions of analysis of the problem addressed in the presented article. The results obtained allow us to assert that the study of the creative path, the formation of a unique style of a certain performer is of undoubted scientific and practical cultural interest and deserves further study. The material presented in the work has a clear, logically structured structure that contributes to a more complete assimilation of the material. This is also facilitated by an adequate choice of an appropriate methodological framework. The bibliography of the study consisted of 10 sources, which seems sufficient for the generalization and analysis of scientific discourse on the subject under study. The author fulfilled his goal, received certain scientific results that allowed him to summarize the material. It should be noted that the article may be of interest to readers and deserves to be published in a reputable scientific publication.
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