Expressividade oral no cinema: diálogos com a fonoaudiologia

• Autor(a) principal: Souza, Priscila Haydée de
• Data de Publicação: 2011
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/11877
• topic: Expressividade oral; Atores; Voz; Fala; Cinema; Oral expressivity; Actors; Voice; Speech; Movie; Speech-language; Hearing sciences; CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA

This project aimed to analyze the issue of oral expressivity in cinema from thematic survey, which came from open interviews with film professionals. The actor's work in this environment has specific demands. The preparation of a film involves many processes, including the technological possibilities and infrastructure. What to think about voice and speech at the cinema? Which processes the construction of oral expressiveness involves in cinema? There are difficulties? The speech, language and hearing scientist can act? Were interviewed six directors, six actors and one sound editor, all of them with film experience, about this research theme. These open interviews were transcribed and analyzed by thematic frameworks, following the proposal of Spink (2004). From these themes, it was possible to organize a didactic proposal to better understand the oral expressivity in cinema. The process for the construction of oral expressivity involves the formation of this, with the previous instrumentation, the script and director influences, and coaches cast and speech therapists; involves support technologies and infrastructure, and fragmentation of oral expressivity. Naturalism, irreversibility, the intimate nature, art and entertainment are features of oral expressivity in cinema. Achieve the objectives of the movie director and to express truth, with intelligibility, continuity, aesthetic and harmony or organicity are the goals of oral expressivity in film. According to respondents, the most frequently cited difficulty is in training, in the preparation of oral expressivity, specifically in the previous instrumentation and creative process, because the processes are very intuitive, subjective, factor that complicates the communication between director, actor, coaches cast and sound designers. Another difficulty is related to support technology and infrastructure for environmental noise, poor equipment and unprepared technical team. The repair of the problems of the filming time or audiovisual record involves editing and dubbing. The dubbing is also a difficulty for most respondents. The speech, language and hearing scientist advice, if based on the specific needs of the environment, can be sensitive at all stages of the construction of oral expressivity in cinema. There is a limited knowledge among professionals of the cinema whose biggest myth is to believe that Speech Therapists acts only in the disturbances. Moreover, perhaps Speech Therapists ignores the needs of the film context and maybe they are a little boldness in proposing their work