Perhaps… “Wait, WHAT? She ate the whole thing? It’s never been done before! I can’t believe it! Now, give yourself an imaginary situation -maybe it was a pie-eating contest your sister won. And coming up with pro-life and post-life improves your improv ability. Hearing the emotion in your voice is important for this game. “Wow” was the pre-life and “That’s awesome” was the post-life, carrying the “amazed” sound in your voice throughout. “Wow! She ate the whole thing, it’s never been done before! That’s awesome!” Now let’s add some “pre-life” and “post-life”, or a couple of words or sounds at the beginning or end of the sentence “She ate the whole thing, it’s never been done before”. The audience then feels some sort of empathy you are drawing them in by the story you have created in your mind based on the direction or the “situation” you are given or come up with. But once you pick an emotion to attach our voice seems to “come alive”. Now by saying this flat, it’s pretty boring and we aren’t sure if you are happy, sad, etc. We must translate the emotion of the words through our voice in our reads.įor this exercise, I borrowed the “ Emotion Wheel” from the Junto Institute and added a simple sentence: “She ate the whole thing it’s never been done before.” Our job as a voice actor is to give voice and emotion to the set of words in the script/copy. Improvisation skills and being able to think fast on your feet (or voice) when given direction is a necessity when recording most voice over projects in the studio.
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